Cosmic Funnies
styofa doing anything
No title available
No title available
TVSTRANGERTHINGS
@theartofmadeline
One Nice Bug Per Day
đȘŒ
AnasAbdin
todays bird
Kiana Khansmith
if i look back, i am lost
ç„æ„ / Permanent Vacation
tannertan36
occasionally subtle
Peter Solarz
Love Begins
Misplaced Lens Cap
tumblr dot com
he wasn't even looking at me and he found me
seen from Germany
seen from Malaysia
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seen from Australia
seen from Germany
seen from United States
seen from TĂŒrkiye
seen from Malaysia
seen from TĂŒrkiye
seen from Canada
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seen from France
seen from TĂŒrkiye
seen from United States
seen from France
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seen from Argentina
@grlawsme
Latest completed fanfic!
PLATONIC
Summary:Â A first year university student and her high school best friend prove that two people of the opposite sex can indeed be just friends.
Genre:Â Friendship, Hurt & Comfort, Romance
Pairing: Luffy and Nami
Total number of chapters : 16
Status:Â COMPLETED
fanfiction.net:Â https://www.fanfiction.net/s/13904285/1/Platonic
wattpad.com:Â https://www.wattpad.com/story/274177257-platonic
one of the best feelings tbh
đŻ
writing is so fun until you run out of pre-planned plot and you stand at the precipice and slowly realise that you never really had a plot in the first place
âșïž
You been hit by
BANG BANG
You been struck by
A smoooth skeleton
đ”dun dundundundundundun dadundun dadundun dunđ”
and make sure your comments are kind!!! âI love this so much!â and âthis is amazing! Iâm so excited for what happens nextâ are more likely to get your favorite fics updated than âwhen will we get the next chapter?â
im a big fan of mr. monkey
He's lost again
These posts are sisters
This is 100% why I am stuck in writer's block. I'm such a prude. đ
Me at 13: âgod I canât wait to go home and read fanficâ
Me at 17: âgod I canât wait to go home and read fanficâ
Me at 21: âgod I canât wait to go home and read fanficâ
Me at 35: âgod I canât wait to go home and read fanficâ
Me at 51: "god I can't wait to go home and read fanfic"
Nah. Y'all pressure me.
Writing tips: Let bodies do the talking
Body language is one of the most powerful tools you can use in your writing, especially when it comes to dialogue.
It reveals emotion without needing long explanations, and it gives your characters presence long before they speak.
Here are some physical cues you can use to bring your scenes to life:
Crossed arms / defensive stance â guarded, annoyed, uncertain
Fidgeting with sleeves / tapping fingers â nervous, impatient
Lingering touches / brushing hands â affection, tension, desire
Tightened jaw / clenched fists â anger, restraint, frustration
Averted eyes / looking at the floor â guilt, fear, embarrassment
Stepping back / leaning away â distrust or discomfort
Tilting head / raised eyebrows â curiosity, challenge
Shoulders relaxing / exhaling slowly â relief, vulnerability
When should you rely on body language?
When you want to show an emotion instead of naming it
When dialogue alone feels flat
When you need subtext (what they wonât say out loud)
When two characters feel differently than the words theyâre speaking
When you want to make a scene more sensory and grounded
Are they really calm, or is their foot tapping like a warning signal? Are they truly angry, or is it just the way their jaw tightens when theyâre hurt? Are they saying âIâm fine,â but refusing to meet anyoneâs eyes?
Body language adds layers. It tells the truth when your characters wonât. It can add to the rage bubbling on their lips, letting the reader know when they're just about to blow up.
Use it intentionally, and your scenes will read less like conversations on a stage and more like real people breathing on the page.
How to Fix Underwriting
1. Slow down at emotionally important moments.
Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.
2. Add reactions, not explanations.
Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.
3. Ground every scene in the senses.
If a scene feels thin, add one or two sensory detailsâsound, texture, smell, or temperatureâto make the moment feel lived-in.
4. Let thoughts interrupt action.
A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.
5. Expand consequences, not events.
You donât need more things to happenâyou need to show what matters. Focus on how events change relationships, decisions, or self-perception.
6. Strengthen setting where emotion peaks.
The environment should echo or contrast the emotion of the scene. Setting is not decorationâitâs emotional reinforcement.
7. Add specific details instead of general ones.
Underwriting often relies on vague language. Swap âthey arguedâ for one sharp line of dialogue or a specific breaking point.
8. Let dialogue breathe.
Short dialogue exchanges without pauses can feel flat. Add beatsâsilence, gestures, interruptionsâto give the conversation weight.
9. Show transitions between scenes.
If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.
10. Clarify stakes early in the scene.
If readers donât know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.
11. Use the âwhat are they feeling right now?â check.
After each major beat, ask what emotion is dominant in that moment. If itâs missing on the page, the scene is likely underwritten.
12. Expand scenes that feel âtoo clean.â
If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.
