I agree that a good walk is helpful for brain storming, especilly if you have any scenes taking place in the wild. Other things to do, and no guarantee that any of these are silver bullets, is to watch or read something in the genre, write a different scene or do some plotting, or if the writing really isn’t coming work on one of the more mechanical aspects of the game. Now a days with all the AI you can also produce nice images of the characters and places in your games - sometimes looking your actual characters in the eyes can help inspire.
I will fourth it - one of the most major charms of these games is to make it and the prot our own. Best not to force feelings.
That stated . . .
For me, and I probably do worse on it now than I did say 20 years ago, I’d recommend imagery as your friend, and symbolisim. Without being to cliche’ (i.e. you want to say it in with the right voice and style) plenty of ghostly cries of the wind, lonely pines, grey skies, etc. etc. Also, for IF, while I wouldn’t recommend forcing the prot to do or feel anything, giving them an oportunity is certainly perfect - so, even if its a false choice, you could add moments for the prot to select some random action to express potential grief, such as hiccuping, swearing, moaning, laughing inanely, etc.
So, as I suspect is the case for a lot of you, the sudden move from Dashingdon in progress has cast a bit of roughness. Yesterday was a bad day - after two days of different hours than I normally work populated by all sorts of sick calls from coworkers and a stomach bug, I learned that one of our local beloved celebrities from the state and city I live in had just passed away, and then shortly after that I learned of the permanent closure of Dashingdon - ah, a rough spot indeed. But other than that and a bit of a back slide to move everything, I feel like I’ve made acceptable progress on Sense & Sorcery this month and can see it gradually taking shape like some sort of strange radioactive clay.
Well, best luck on the move everyone, and proud pens and all . . .