Xlili-lyraterx - Oneirataxia

𓅨 Shifting Wings: Chapter Eight

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

Warnings: Angst, Foreshadowing.

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

Word Count: ~2.3k

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Gone?” Morpheus repeated in disbelief.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Date Published: 6/21/23

Last Edit: 6/21/23

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A Philosophy Behind Writer's Block: Valuing Despair

Unfortunately, it happened again where I went a little over a month without writing anything I was happy with. I would attempt to get some words down, remembering that even a little bit is progress; but, no matter what I did, everything just felt so dry and dull. Not only that, my stories felt like they were boring or just not worth it anymore. It was awful.

I tried everything that normally helped with getting over writer’s block. I’d try out different times to write, read other books for inspiration, focus on another hobby—still, it all felt like I was banging on a brick wall. That’s when I turned to my philosophy studies, as if there was some sort of deeper consciousness of an answer that would aid my issues.

Well, there was. The infamous Kierkegaardian Despair.

The Sickness unto Death

The Sickness unto Death is a book written by Danish philosopher Søren Kierkegaard in 1849 under the pseudonym Anti-Climacus. A work of Christian existentialism, the book is about Kierkegaard’s concept of despair, which he equates with the Christian concept of sin, which he terms “the sin of despair.”

In Kierkegaard's work, despair arises from a fundamental disconnection from one’s true self and from God. He distinguishes between different forms of despair, including the despair of having a self and the despair of not wanting to be oneself.

Now, take what you will from the Christian existentialism part (I’m pagan, so I already had mixed opinions on many classic texts on God), but it doesn’t erase how the concept of despair can shed light on the underlying struggles that writers—at least, myself—may face.

It’s Never Just a Phase

Writer’s block can be seen as a manifestation of existential despair in which we feel disconnected from our creative essence or authentic self. This disconnection may stem from various sources, such as self-doubt, fear of failure, or a sense of alienation from one’s creative impulses. We may experience a profound sense of emptiness or meaninglessness, unable to access the inspiration and clarity needed to write.

Moreover, Kierkegaard’s notion of despair as a failure to align with one’s true self suggests that writer’s block may arise when our creative endeavors are driven by external motives or expectations rather than genuine inner inspiration. The pressure to produce work that meets societal standards or fulfills commercial demands can lead to a sense of existential disorientation and paralysis.

Don’t Just Overcome it. Value it.

If you resonate with Kierkegaard’s work, you will agree with his observation that we are always going to despair over something. It’s not about waiting for the tide to roll over or for the dry spell to ease up, but to examine our own self’s relation to what we are lamenting over. He writes:

“Despair is an aspect of the spirit, it has to do with the eternal in a person. But the eternal is something he cannot be rid of, not in all eternity… If there were nothing eternal in a man, he would simply be unable to despair… Having a self, being a self, is the greatest, the infinite, concession that has been made to man, but also eternity’s claim on him.”

Let’s break down the quote and explore how it can inform our approach to overcoming writer’s block:

Despair as an Aspect of the Spirit: Kierkegaard suggests that despair is not merely a psychological state but an aspect of the spirit, rooted in the eternal dimension of human existence. Kierkegaard’s conception of despair invites us to recognize the creative process as a site of existential tension and struggle.

Writer’s block is not merely a technical or practical obstacle to be overcome but a profound existential challenge that confronts us with the limitations of our finite selves and the aspirations of their creative spirit.

The Eternal in a Person: Kierkegaard asserts that despair is linked to the eternal within individuals, suggesting that it arises from a tension between the finite and the infinite aspects of human nature. The finite aspects encompass the temporal, material, and contingent dimensions of life, while the infinite aspects involve the eternal, transcendent, and spiritual dimensions. This tension is inherent in human consciousness and manifests in various forms of despair, such as the despair of weakness, the despair of defiance, and the despair of not willing to be oneself.

This tension between the finite and the infinite can be understood as the conflict between the limitations of our creative faculties and the boundless possibilities of imagination and expression. Writer’s block often emerges when the writer feels constrained by external pressures, self-doubt, or perfectionism, inhibiting their ability to access the infinite reservoir of creative inspiration within them.

Moreover, Kierkegaard’s concept of the finite and the infinite highlights the paradoxical nature of creativity. While the creative process involves the manipulation of finite materials—words, images, sounds—it also taps into something transcendent and ineffable, something that exceeds the boundaries of ordinary experience. Writer’s block can be seen as a manifestation of our struggle to bridge this gap between the finite and the infinite, to give form to the formless, and to articulate the inarticulable.

Having a Self as Eternity’s Claim: In Kierkegaard’s philosophy, the concept of “having a self” refers to the capacity for self-consciousness, self-reflection, and moral agency that distinguishes human beings from other creatures. It involves the awareness of one’s own existence as a distinct individual with thoughts, feelings, desires, and responsibilities. “Eternity’s claim” suggests that the existence of the self is not merely a temporal or transient phenomenon but is imbued with profound significance that extends beyond the confines of earthly life. The self, according to Kierkegaard, is intimately connected to the eternal dimension of human existence, reflecting the divine spark within each individual.

“Having a self as eternity’s claim” suggests that the act of creative expression is not merely a personal endeavor but is also a manifestation of the eternal striving for meaning and significance. Writers, as self-aware and self-conscious beings, bear a profound responsibility to give voice to their innermost thoughts and feelings, to explore the depths of human experience, and to contribute to the ongoing dialogue of humanity.

Embracing Existential Depth

So how do we value despair and overcome writer’s block in light of Kierkegaard’s insights? Writer’s block often extends beyond mere technical or practical challenges and can be rooted in deeper existential concerns. This involves grappling with questions of identity, purpose, and meaning in the creative process. By recognizing writer’s block as a reflection of these existential concerns, we can approach it as an opportunity for self-exploration and growth. Rather than viewing it solely as a barrier to productivity, we can use writer’s block as a catalyst for deeper introspection and self-discovery. This might involve journaling, meditation, or engaging in conversations with fellow writers or mentors to uncover underlying psychological or philosophical issues that may be contributing to the blockage. I have previously posted a blog on writing soliloquies. Embracing existential depth allows us to transform our struggles into sources of insight and inspiration, ultimately enriching our creative work.

There is a large aspect of accepting what you cannot control, another widely-known philosophical concept. Swimming against the current, after all, may prove to be more tiring than it’s worth. Instead, be kind to yourself and practice self-compassion during these moments. Understand that experiencing creative struggles is a normal part of the writing process and treat yourself with the same kindness and understanding you would offer to a friend facing similar challenges.

Seek social support. Reach out to fellow writers, friends, or mentors for support and encouragement. Sharing your struggles with others can help you gain perspective and feel less isolated in your creative journey, because, trust me, we have all been there.

Ensure that you are also setting realistic goals. All I would want to do was upkeep my 3k word/day momentum, but I would feel even worse about myself for being unable to do so. Break down your writing goals into smaller, more manageable tasks and set realistic deadlines for yourself. Celebrate small victories along the way to maintain motivation.

Finally, what has helped me the most, is to read widely. Immersing myself in diverse genres, styles, and voices provided so much insight into what I could be missing in my own work; or, it simply sparked my love of story-telling all over again.

Closing Words

Remember that writer’s block is a temporary obstacle that can be overcome with patience, persistence, and, apparently, a bit of philosophy. Where there is frustration, we will find insight.

Defo gonna try this.

Double Your Word Count: A Sprint Game

I cannot take credit for this idea–I read it somewhere on the NaNo forums last year, and since they’re wiped yearly the post I saw is long gone. Someone awesome who isn’t me came up with this, but I love it and want to share it.

Here’s what you do:

Set a timer for 5 minutes and sprint. Record your word count–I played this morning and got 188 words.

Okay, double that to set your goal for the next sprint, 10 minutes. I needed 376 words; I actually wrote 481. Go me!

Double that (my new goal is 962) and do a 20-minute sprint. Oops! I failed the first time, and only wrote 870 words.

If you fail at the goal, you have to try again instead of doubling. My second try: a measly 737. I was getting tired.

I took a break and did some tumblring, then tried a third time.

After a while, I realized I hadn’t actually started my timer, when I thought “Shouldn’t it have gone off by now?” and saw it sitting at 0:00.

But I’d written 1,443 more words, bringing my total for the day to almost 4K. Success, even if I wasn’t actually playing the game anymore.

(If I had reached that goal, the next step would be to double it and do a 40-minute sprint–I’ve tried that twice before and never managed to make it. Fatigue sets in for me, and my most effective writing-time length seems to be 15-20 minutes max, if I’m going for speed. Give it a try, certainly, to see if it works for you!)

Things To Consider When Writing With Mythologies 

Mythologies, often ancient narratives passed down through generations, hold profound cultural significance. They are not just tales of gods and heroes but windows into the beliefs, values, and fears of societies long gone. This is why it’s important to ensure you are culturally accurate and don’t accidentally offend members of the communities you are writing about. 

I personally am writing a WIP based around Japanese mythology, so here are some things I think you should consider when writing with mythologies.

Using Myths to Drive Plot and Character Development

Myths can serve as the very essence of your story's conflicts and themes. Imagine a tale where a young protagonist discovers they are the reincarnation of an ancient hero, destined to fulfill an ancient prophecy. The hero's journey in such a narrative would be profoundly tied to the mythological elements, guiding their growth and purpose.

Characters, too, can be shaped by the myths of their world. For instance, in Rick Riordan's "Percy Jackson and the Olympians" series, the characters are demigods, offspring of gods and mortals, and their quests are directly connected to the Greek mythos, intertwining their destinies with the larger tapestry of ancient legends.

Understanding Mythologies and Their Significance

Mythologies have been an integral part of human storytelling since time immemorial. They are not mere tales of gods and heroes but serve as essential cultural artifacts that mirror the beliefs, fears, and aspirations of ancient civilizations. Understanding the significance of mythologies can help us appreciate their profound impact on both the past and present, enriching our fantasy writing with layers of depth and meaning.

Mirrors of Cultural Beliefs

Mythologies offer a glimpse into the foundational beliefs and values of various cultures. These stories often revolve around the origins of the world, the creation of humanity, and the forces that govern existence. For instance, Greek mythology's creation story of Chaos giving rise to Gaia (Earth), Tartarus (Underworld), and Eros (Love) reflects the Greeks' attempt to explain the beginning of all things.

Archetypes and Universality

Myths are replete with archetypal characters and motifs that resonate with the human psyche. The hero's journey, the wise mentor, the epic battle between good and evil—these recurring themes transcend time and culture, connecting us to our shared human experience. As writers, tapping into these archetypes can make our characters and narratives more relatable and emotionally compelling.

Incorporating the essence of mythologies into our fantasy narratives allows us to harness the timeless power of these ancient tales. By honoring the significance of myths, we can create stories that resonate with readers on a profound and universal level.

Using Myths to Drive Plot and Character Development

Myths serve as powerful catalysts for driving the plot and shaping the characters in your fantasy world. By integrating mythological elements into your narrative, you infuse your story with a sense of wonder and connect your characters to something greater than themselves. Let's explore how myths can be harnessed to propel both plot and character development in your fantasy writing.

Mythological Themes as Central Conflicts

Incorporate mythological themes as the central conflicts driving your plot. Whether it's an ancient prophecy, a long-forgotten curse, or a divine mandate, mythological elements can set the stage for epic quests and high-stakes adventures. For example, in J.K. Rowling's "Harry Potter" series, the prophecies surrounding the Boy Who Lived and the rise of Voldemort become pivotal drivers of the plot.

Character Identity and Mythical Lineage

Give your characters a connection to the myths of your world. A character could be the descendant of a heroic figure from ancient times, bearing the weight of fulfilling an age-old prophecy. This connection to the past can shape their identity, motivations, and personal journeys.

Quests Rooted in Mythology

Craft quests and challenges that are steeped in mythological lore. By sending your characters on quests to recover sacred artifacts, defeat mythical beasts, or seek guidance from divine beings, you not only enrich your plot but also create opportunities for character growth and self-discovery.

The Mythic Impact on World Events

Consider how mythological elements influence the world events in your fantasy setting. Wars, political intrigue, and cultural practices may be shaped by the belief in ancient prophecies or the legacy of mythical beings.

Character Arcs Entwined with Myths

Let your characters' arcs intertwine with the myths of your world. As they confront their fears, overcome challenges, and evolve, they may embody the archetypal hero's transformation—rising to greatness or succumbing to tragic flaws.

Symbolism and Allegory in Mythological Writing

Incorporating symbolism and allegory into your mythological writing adds a layer of depth and complexity to your storytelling. These literary techniques allow you to explore profound themes and hidden meanings, making your fantasy narrative more thought-provoking and resonant with readers. Let's delve into how to effectively use symbolism and allegory in the context of myths.

The Power of Symbolism

Symbols are objects, characters, or events that carry deeper meanings beyond their literal interpretation. In mythological writing, symbols can represent abstract concepts, emotions, or significant aspects of the human condition. For instance, a mythical sword might symbolize justice and valor, while a sacred tree could represent the interconnectedness of life.

Allegorical Tales

Allegories are narratives that use symbolic characters and events to convey moral, philosophical, or political messages. Consider crafting allegorical myths to explore real-world issues in a fantastical context. For example, George Orwell's "Animal Farm" uses allegory to critique political systems and human nature.

Symbolism in Creatures and Settings

Leverage mythical creatures and settings as symbolic representations of broader concepts. A mythical dragon guarding a treasure might symbolize the greed that corrupts societies, while a mystical forest could represent the unknown and the call to adventure.

Interpretation and Depth

Allow room for interpretation in your myths. A richly layered narrative invites readers to contemplate various meanings and draw their own conclusions, fostering engagement and making your story more memorable.

Balancing Allegory and Narrative

Remember to strike a balance between allegory and storytelling. While powerful symbolism can add depth, be mindful not to overshadow the narrative's flow and character development.

Through symbolism and allegory, your mythological writing becomes a vessel for exploring timeless truths, moral dilemmas, and the complexities of the human experience. This layer of meaning elevates your storytelling, leaving a lasting impression on readers.

Blending Myths with Worldbuilding

The seamless integration of myths into your worldbuilding can elevate your fantasy realm from a mere backdrop to a living, breathing entity. By infusing every aspect of your world with mythological elements, you create a rich and immersive setting that captivates readers and allows them to fully immerse themselves in the wonder of your creation. Let's explore how to blend myths with worldbuilding to craft a cohesive and enchanting fantasy world.

Mythical Origins and History

Incorporate myths into the history of your world. Legends of ancient gods or legendary heroes can serve as the foundation of your world's creation and early development. These myths not only add depth but also explain the origins of key elements in your world, such as magical artifacts or mystical locations.

Mythical Geography and Landmarks

Infuse your world with mythical geography. Sacred mountains, enchanted forests, and mysterious islands can be inspired by myths or even be the settings of ancient mythological events. The presence of these mythical landmarks makes your world feel magical and mystical.

Divine Architecture and Symbols

Represent the influence of myths on architecture and symbols within your fantasy world. Temples dedicated to mythical deities, sacred runes, or sigils used for protection can add authenticity to your setting, giving readers a sense of a world with deep-rooted beliefs.

Rituals and Traditions

Showcase rituals and traditions that have evolved from ancient myths. Festivals celebrating mythical figures or events can be an essential part of your world's cultural identity. These traditions can create vibrant backdrops for scenes and contribute to the sense of community in your world.

Legendary Artifacts and Items

Integrate legendary artifacts and items from myths into your world. These powerful objects can become central to the plot or wielded by characters of great significance. For example, the Sword of Excalibur from Arthurian legends or Thor's hammer, Mjölnir, from Norse myths are iconic mythical artifacts.

Creatures and Races

Inspire the creation of unique creatures and races based on myths. Drawing from various mythologies, you can invent fantastical beings like phoenixes, centaurs, or sirens. Alternatively, reimagine existing mythical creatures in new and intriguing ways.

Myths and Cultural Diversity

Explore how myths shape the cultural identity of different regions or races in your world. Diverse myths can contribute to varied customs, values, and worldviews. This cultural tapestry enriches your world and provides opportunities for compelling conflicts and interactions between characters.

Avoiding Cultural Appropriation and Stereotypes

As writers, we have the incredible opportunity to draw inspiration from a wide array of cultures and myths to enrich our fantasy worlds. However, with this privilege comes the responsibility to approach the task with cultural sensitivity and respect. Avoiding cultural appropriation and stereotypes is crucial in creating a story that celebrates diversity and promotes understanding. Let's delve into ways to navigate this delicate terrain while crafting a mythologically inspired narrative.

Research Extensively

Thorough research is paramount when incorporating elements from real-world cultures into your writing. Dive deep into the myths, traditions, history, and values of the culture you intend to draw from. Seek out diverse sources and perspectives to gain a comprehensive understanding.

Understand Cultural Context

Cultural context matters. Recognize that myths are deeply rooted in cultural experiences and may carry sacred or sensitive meanings. Ensure that you grasp the nuances and significance of the myths you're using, and handle them with the utmost respect.

Avoid Stereotypes and Exoticization

Steer clear of perpetuating stereotypes or exoticizing cultures. Respectfully depict characters and settings without reducing them to one-dimensional or caricatured portrayals. Create fully fleshed-out characters with their own motivations, strengths, flaws, and complexities.

Collaborate and Seek Feedback

Consider collaborating with sensitivity readers or cultural consultants who are well-versed in the culture you're representing. Their insights can provide invaluable guidance and help you navigate potential pitfalls.

I hope this blog on Things To Consider When Writing With Mythologies will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

~ all images from pinterest ~

What Is Showing vs. Telling Anyway?

When I decided to get serious about writing, I wrote short stories that meant something to me. Then I let people read them, but not just anyone. I picked people who knew a thing or two about craft. English teachers, the adults in my life who recommended books to me, and a lady who became a beloved writing tutor.

Those people challenged things like my sentence structure and word choices, but my writing tutor told me to show my stories, not to tell them.

I bristled. I was already showing them! That’s creative writing! If I wanted to tell my stories, I’d just say them out loud.

She clarified—in words that flew right over my head. My brain fuzzed out and I couldn’t grasp what she was saying, but I was embarrassed, so I nodded like I understood. It took me a while longer to get the hang of things by writing more (some terrible, some good) stories where I played around with my descriptions, narration, word choices, and themes.

Finally, years later, I understood.

Showing is describing the sensory details of your story. It’s diving into the emotional depth of your characters. It’s making the reader feel like they’re watching a movie while they’re reading your work.

Telling is more like narration. There’s no flowery language or sensory descriptions. It’s straightforward, clean, and nearly professional in nature.

Why Is “Telling” Normally a Bad Thing?

Clean-cut narration isn’t always terrible. Sometimes it works well for stories told by a narrator with dry humor or books about an intensely serious subject.

Most of the time though, “telling” keeps readers at arms-length. Picture yourself reading a history book. Each page gives you the facts. It might also describe a historical figure or the gory details of a war, but making those people or moments come to life in your mind isn’t the point of the text. It’s to convey information.

That’s what makes stories that rely on “telling” so different from stories that “show” everything.

Examples of Telling

If you’re like me, you’re probably thinking that it would be easier to picture the difference between these two concepts if there were examples. Lucky for you, I’ve already thought of that.

Example 1: I’m happy to see my best friend at school.

The narrator conveys their emotion, but not what that emotion makes them feel. There’s nothing to paint a picture of the school or even the friend.

Example 2: Henry didn’t like his dinner.

Cool, the character didn’t enjoy their food. Why? What was the taste or texture like? What did he experience that made him recognize the feeling of not enjoying the meal?

Example 3: Sofia made her bed in a hurry.

Why she was in a hurry might come in the next sentence or paragraph, but what did she feel while making that bed? What was her thought process? What’s her room like?

Examples of Showing

Let’s turn those same examples into sentences that “show.”

Example 1: I walk through the clustered school hallways with the rest of the student body, smelling their pre-exam nervous sweat and too much men’s body spray. This school would be miserable, except for my best friend. When I spot her by my dented locker, the smile on her face makes the cold bus ride to school worth it.

This is obviously more than a sentence, but notice how you get a better experience from it. The school hallways are crowded and smell bad. The protagonist doesn’t enjoy where they attend class. However, their best friend is a source of happiness. She waits by a dented metal locker, possibly with some good news, encouragement or an exciting update to something happening in the protagonist’s life. It makes you want to know what she’s going to say, especially because you can relate to what the main character is feeling.

Example 2: Henry’s nose scrunched up at the taste of his dinner. The chicken was in a desperate need for salt. This never would have happened if he had been allowed to make it.

We’ve all had a similar reaction to eating bad food. Your nose scrunches up, your mouth tightens, your tongue freezes. This example shows that in a way that you can feel yourself going through the same physical motions. It also explains why the food is bad using one of the five senses—it’s not salted enough.

Example 3: Sofia pulled her purple comforter tight against her headboard and threw her pillow at it as she ran out the door, late for the bus again.

More scenery details—the bed has a headboard and the comforter is purple. The protagonist is in a rush so her pillow is likely lopsided on the bed, which means the rest of her room is probably a bit messy too. The visual details make this a vivid scene and introduce the reader to a few of Sofia’s relatable character attributes.

How to Spot the Difference

I began to tell the difference by imagining myself reading a single sentence out loud. If I read any of the examples above before the “showing” edits, you’d have questions for me. See if a sentence, paragraph, or page makes you ask yourself:

What emotions does the protagonist feel right now?

How does the main character look through their body language?

What can the protagonist smell, taste, or feel?

What does the environment look like and is it necessary to describe it at this moment?

Does this scene need dialogue?

Do the characters feel flat?

Where’s the story’s hook?

The last question is tricky. The hook will be at the start of a short story or shortly within it, much like how a hook is within or at the end of the first chapter in a novel. If your writing doesn’t compel you to keep reading, it’s likely lacking the emotional depth that showing provides.

When Showing Goes Overboard

It’s always possible to have too much showing. It leads to the discussion English teachers always have about how Victor Hugo wrote for numerous pages about a single room in a chapter.

You could also fall into the trap of inserting flowery language into your work that you wouldn’t normally use, all for the sake of “painting a picture.” Your writing is your voice! It’s unique to you—how you speak, how you think, how you express yourself through stories. Write what comes naturally to you while keeping scenery, emotional depth, and sensory details in mind. If your words seem boring, that’s what editing is for (after you finish and step back from your work for a bit!).

Lose Yourself in Your Stories

“Showing” gets easier when you can lose yourself in whatever story you’re currently writing. If you’re struggling to do that, you might want to write in a quieter environment or put more details into your story or character outlines.

Have fun practicing this art form and you’ll watch your writing skills grow.

Promises Three: Subtle Dreaming

Dark!Morpheus x (female)reader, fantasy/medieval AU, 18+

Master List

Dream of the Endless had been promised a bride.

Chapter track: Rainbow - The Temple of the King - Algal the Bard

It has been... a rough couple weeks. But I'm back! Hope you enjoy! Your comments and questions mean the world! Special thanks to all you lovely rebloggers! I'm still trying to figure out how to respond without essentially reposting half a dozen times, but I see you, you make my week!

Subtle Dreaming

A knock on the door disturbed her work. It was an hour past midnight, when all but the youngest servants and ardent lovers had retired to their beds with heads full of dreams, a time a wandering mice and cat’s work.

But she wasn’t surprised, even less when she opened the door of her windowless chamber to find a young lady in her nightdress, wrapped in a shawl with wary hope in her eyes and a candle in her hand. Alis Everard. The youngest of a large family, and the only child still unmarried – and a child she was, barely thirteen, and of all the reasons the bard hated the king of Meiren, summoning such young suitors for his Endless guest might be the greatest. Her face hadn’t quite lost childhood’s rounded cheeks, and the seams on her nightgown had recently been let out after a growth spurt.

“I see your father is impatient,” the bard said. Wrapped in her own shawl over her own nightgown, she felt more than ever the noble’s equal. After such a long life, she understood better than most how little rank protected one from life and how much a peasant’s child was like a queen’s. She was the girl’s elder by far, but she’d been young once, and what youth didn’t go sneaking down corridors in the dark during their first trip to court?

“He bid me seek your counsel. May I come in?”

Stepping back, she ushered the girl into her sparse little room. “Of course.”

Once the girl was through, she moved to close the door, but a slippered foot darted through the gap to block it. “Not so quicky!”

The foot neatly kicked the door back open as the bard released it, and a young woman – who was, at least, properly a woman – swept by in a dressing gown of satin and a riot of chestnut curls. “I enjoy midnight jaunts, but not being spied on one.”

The bard did her very best not to smile, but failed entirely. She knew this late guest as well. Eilwyn Alder. The third generation in her family the bard had befriended, and she sat next to little Alis on the bed with the casual grace of someone entitled to it.

“My grandmother sent me for your thoughts, though I’m sure she’ll collect them for herself tomorrow. But I am a dutiful granddaughter, so here I am.” She blinked doe eyes as the door finally fell shut, poised and perfect coquettish grace. “So, what news? Or will I lose my beauty sleep for nothing?”

Pulling out a stool from beneath her tiny desk, the bard said, “I haven’t spent an hour in his presence, and I’ve had a long ride, so forgive me if I haven’t yet taken the full measure of the king’s guest and his schemes.”

Alis wriggled on the bed, twisting her hands up in her shawl. Her eyes bounced between shadows, looking for threats like the Dream Lord’s nightmares might crawl out of the walls to exact vengeance for some imagined slight. Not that they couldn’t, but the bard assumed Lord Morpheus had better things to do with his time than torment one overwrought teenager who didn’t want to marry him.

“What if he eats his bride on the wedding night? Like the Lindworm?”

Eilwyn scoffed, and the bard donned a gentle smile, even if she couldn’t keep the laugher from her voice.

“He’s Endless, not a dragon.”

“What does that mean?”

“Means you’d be better off with a dragon.”

The child curled into the corner of the bed, sinking into the blankets with her shawl swallowing the lower half of her face. Looking for comfort where her companions’ mirth had failed. The bard reached over to pat her knee, taking the opportunity to change the subject. “Honestly dragons aren’t so bad. One of my patrons is a dragon, you know. I was attending my yearly visit to his lair when your great, worried, noble parents called for me.”

A whisper of a promised story lured Alis’s eyes away from visions of doom. She glanced at Eilwyn, like she’d confirm the tale. The older girl gladly took up the role of expert.

“Everyone knows that,” she sniffed.

“Is it…” Alis mulled over the idea, confusing herself with her own bevy of questions. “Is it a… nice dragon?”

“These days he is. But he wasn’t always.”

The hook snared Alis’s attention, and her posture softened, though she didn’t leave the corner of the little bed. In fact, she made herself more comfortable, settling like a kitten, and a stab of rage that anyone thought this little girl ought to be considered as a wife seared through the gathering strands of the bard’s story.

She took a blanket and settled it over the child as she began to speak, shielding her from a king’s machinations, a world too big for little hands, and prying eyes.

.O.O.O.

Dream of the Endless retired to the chambers the King set aside for his use, though he had little use for them at all. He would not sleep. He had no intention of entertaining in the parlor, or writing missives at the richly appointed desk. There was no book on the shelves he did not already possess, and he left the food prepared for him to grow cold and stale on the table.

He did sip the wine, and in the darkest hours he found his amusement in wandered the sleeping minds of the castle. Boredom drove him. Cruelty, even. Vengeance called for the king to atone for his wounded pride, and the decade since the human’s error only gave Dream time to image new and wondrous torments. He wanted to watch the king’s schemes crumble in the dread nightmares prowling the would-be suitors’ dreams. He enjoyed the seeds of hate planted in parents’ hearts, the doubt in subjects who’d been nothing but loyal until this gathering.

The king’s story would be a horror, a kind of tragedy that left wounds in his lands and subjects the turn of generations would not heal. These seven days would be the fuse, a prologue to terror and loss. A lesson none would soon forget, lest they bring such punishment on their own loves.

He drifted, savoring the fears he would shape to his own ends. Until words snared his attention. A half-heard tale of a dragon spinning through recent memories of a soft touch and a smile in the face of inescapable dread.

He found a young mind loosely tethered to the Dreaming, caught in the tides running between the conscious and subconscious, where words and images of the Waking cast strange reflections in the fading thoughts before sleep. She led him to a plain, simple room deep in the castle. A place for high-ranking members of staff, perhaps. Utilitarian and uninspiring. Not a place this noble child belonged. But she was not alone, and as she dozed, Dream borrowed her senses.

Voices. One he recognized. The bard the king so detested. He knew her as he knew all dreamers, and he sensed his sister’s touch upon her.

She spoke of him.

“He’s the Prince of Stories. A bride market is beneath him. This is how political unions for picky lords looking for pretty faces are arranged, not how one of the most powerful creatures to ever live seeks a partner,” the bard said.

She was not wrong, of course. The story weaver spied the loose strings in the tale, the ragged ends that did not match, though she had yet to understand the pattern he wove.

“Whatever he wants, it isn’t love or a warm body in his bed. There’s something else. I just have to figure out if that something is a danger to any of you.”

So, loyalty did grow in the king’s court. Just not to the monarch. Dream felt the peace the bard’s presence brought the dreamer half-snared in her sleep. A quiet, sure thing. The confidence children had in oak trees their parents and grandparents climbed when they were young.

The other voice in the room did not speak as a child. This one was old enough for caution, and it worried for the old oak as well as those who sheltered beneath.

“To us, I should think.”

Did the bard not fear him? Had she stood outside as the storyteller for so long she’d forgotten she could be part of them as well?

“Whatever happens, dear, I’ll survive it.” Her only worry was for those she perceived as in her care. The children of children she’d watched grow. A touch carried through the dreamer’s skin and into their subconscious, a kind voice leading her back to the Waking. “It isn’t time to sleep yet. You must return to your room…”

The fragile link collapsed, and the bridge between the servants’ quarters and the noble guest room dissolved.

Lord Morpheus, Dream of the Endless, sat in his darkened chambers in the court of a damned king, and thought as he sipped from his wine that he would enjoy seeing the bard at work. He must amuse himself for seven days, after all, until the time of the agreement ran out, and she was a surprising creature.

The most surprising he’d seen in some time.