It felt as if one’s entire world was one, long Sunday afternoon. Nothing to do. Nowhere to go. Guido Guidi.
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It felt as if one’s entire world was one, long Sunday afternoon. Nothing to do. Nowhere to go. Guido Guidi.
Tired and paranoid, Tye Martinez
2 Days in the Valley, Kristin Moore
Audrey Hepburn as Natasha Rostova in
WAR AND PEACE (1956)
Chapel House in Wiltshire
THENORDROOM.COM - INSTAGRAM - PINTEREST - FACEBOOK
Historic home in London / more pictures at the source
Wood cuts, Gordon Mortensen
No way home, Erin Morris
Photographs from the ‘Irene’ series by Simon Harsent
When writing emotionally reserved characters:
Show your character's struggles with holding in emotions. Just because your character won't let themself go in public, doesn't mean they don't struggle holding everything in.
Find a motive. Pride and/or consideration for those around them can make emotionally reserved people hold back more than would be considered good for them. There are other reasons too, perhaps the initial cause and the reason now are different, but try to give them a reason.
Show side-effects. Everything you bottled up shows itself in another way, whether it's physical or mental. This can be long- and short-term, depending on the severity of the emotions.
Give them coping mechanisms. Everyone who wishes not to show certain emotions has a trick or two to keep themselves in check. Taking a sip of water, not looking people in the eyes, clenching their fists, breathing just a bit too deeply.
Write subconscious signs that they give off, which close friends or family might pick on. Just because these characters want to keep their emotions to themselves, doesn't mean they don't give off signs. Some manage to keep said signs well hidden from those closest to them, but it's more common for environment to pick up on something at the very least.