I tried to go for more external, concrete motivations in this list, but motivations can also be abstract, such as to become brave. If you’re struggling with writer’s block, try combining some of these to see what you come up with.
Your protagonist might desire:
* To rescue/protect a person
* To end a war/conflict
* To find a hidden treasure/location
* To defeat their nemesis
* To solve a mystery
* To fix a dystopian society/expose a dark truth about society
* To break free from captivity
* To return home
* To outwit the devil/make a deal with the devil (or another powerful force)
* To become wealthy/famous/powerful/immortal
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I don't know if you can answer this one, but basically, I know what needs to happen in my story and I know where it's going but it's like I can't get it there or don't have the ideas to get it there, if that makes sense? For example, I'm writing a short story and for this particular scene, these two characters need going to kiss to get the story going, but the dialogue and scene feels so flat or it's like I have no ideas to get from point A to point B.
You may think you know what needs to happen in your story, and you may think you know where your story is going, but knowing random things that have to happen and a general ending aren't usually enough to make a story unfold. For some writers it is, but not for most of us.
There are some key things a story needs in order for you to fill in those moments...
1) Motivation and Goal - every story is about someone who wants something trying to get that thing, so the first thing you need to figure out about your story is what your character wants, why they want it, and the steps they need to take in order to get it.
2) Internal Conflict - Your character's history, experiences, and current situation all play a role in who they and what they need. What does your character want to change about themselves or their situation?
3) Antagonistic Force - When you're trying to reach a goal, there's almost always an antagonistic force creating obstacles you must overcome. If you're training to run a marathon, those obstacles are probably created by the limitations based on your current level of fitness. If you're trying to survive a gladiator-style fight, the antagonistic force is whoever/whatever put you in that situation and on a smaller scale, whoever/whatever you need to fight to survive.
4) Stakes - Stakes are the things that matter most to your character. These are the reasons your character is motivated in the first place, the reason they want to pursue their goal. Stakes are the best thing that could happen if your character succeeds, and the worst thing that could happen if they fail. What's the worst that can happen?
Sometimes, when you're trying to reach a goal, the stakes are raised. This could be a natural raising of the stakes, like a smoldering volcano showing sudden signs that it's about to blow and threaten the character's family in the village below. It could be an intentional raising of the stakes, like the villain kidnapping your character's significant other, forcing your character choose between slaying the villain's dragon that's terrorizing the village, or saving their loved one.
Your character's goal tells us where the story is going. Your character's motivation tells us why the character wants to get there. Their internal conflict tells us why they want what they want, and why they do the things they do. The antagonistic force tells us who or what they're up against and what obstacles they'll have to overcome on their way to reaching their goal. Stakes tell us how things can get increasingly worse/increasingly more tense.
When you know all of these things about your story, you start to understand the individual things that need to happen, like the moment when your character finds out their loved one was kidnapped, or the moment when the smoldering volcano starts to rumble. When you know the individual things that have to happen, you can build scenes around them. When you know what your characters want, why they want it, what internal conflict drives their choices, and what's standing in their way, you understand what your characters would need to talk about in each scene.
Have a look at the following posts for more help:
Guide: How to Turn Ideas into a Story Guide: Filling in the Story Between Known Events Guide: How to Outline a Plot Basic Story Structure How to Move a Story Forward
Good luck with your story! ♥
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in cities and towns, you won’t really have to worry about this but it’s important to be careful and respectful of the land you plan to cross, especially if it’s your first time visiting and especially if it’s in a forest. land spirits like duwende live in trees, rocks, dirt mounds, caves, and pretty much everywhere else. duwende can be playful but will get angry if you destroy/disrespect their home, so always ask permission before you pass through and don’t spit, urinate, or even run around ((be really careful not to crush mounds))
¸𓏲࣪ ˚.𝗹𝗶𝘁𝘁𝗹𝗲 𝗳𝗹𝘂𝗳𝗳 𝗵𝗲𝗮𝗱𝗰𝗮𝗻𝗼𝗻♡⤸₊˚
we'll start with short and cute hcs!
Psyche would be the cute type to love and get friendship bracelets for her best friend, like ones for her and Medea — and even if Medea is not one to do such unnecessary things, she would wear it anyway (at least just to please Psyche) and all the time, as she seems to be the kind that values objects with a sentimental story (like her nanny's necklace).
Trese Official Trailer (in english)
For your nerdy consideration...
This upcoming Netflix animated series is based on the Trese comics by Budjette Tan and Kajo Baldisimo — the story is set in Metro Manila and centered on Alexandra Trese, a detective that deals with supernatural beings from Filipino myth and folklore.
The show is headed by Jay Oliva, developed by BASE Entertainment, and stars Shay Mitchell and Liza Soberano as the titular Alexandra Trese (English and Filipino dub respectively).
It comes on June 11 on Netflix.
I had the habit of whistling the call of birds when the wind is saturated. It’s not like I believe in it, but oftentimes, I suddenly feel the wind coming after one set of call. I learned it from the elders, and I’m still seeing some youth do it.
One time, I was with a non-local friend (he’s Filipino, just very westernized) and we were walking under the harsh sun with no wind. I whistled, and a gush of wind came. He asked why did I do that, to which I answered while the wind brushed my hair, “I’m calling the wind.” with such a serious voice I might be a diety. Later on I realized he doesn’t know about our force of habit, and since I didn’t want to be seen as crazy, I said, “FORGET ABOUT THAT! IT WAS A FORCE OF HABIT AROUND HERE.”
So yeah, we whistle for the wind. The only being in the universe you can whistle for.
Answer: Water Lily
Water Lily = ilad
By the Water Lilies = May ilad
May ilad -> Maynila
Maynila = Manila (anglicized)
: I think it's quite romantic that the Capital city got it's name from Water Lily because old Tagalogs loved nature so much. Then you look at Manila now and there's no clean body of water. But it still makes me smile whenever I remember Manila means Water Lily. I don't know why.
Been looking into filipino mythology again cause I’m working on ocs and I thought I’d share some moon deities