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.
first thing you might want to consider: is the pain mental or physical?
if itâs physical, what type of pain is it causing? â sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc
if itâs mental, what is the reason your character is in pain? â grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc
because your character will react differently to different types of pain
PHYSICAL PAIN
sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they donât necessarily have to always be crying.
acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what theyâre doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like theyâre gasping for air).
dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if itâs a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that theyâd rather not engage in any activity or conversation and theyâd rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they donât mind others seeing their discomfort, they may whimper. but if your character doesnât like anyone seeing them in a not-so-strong state, chances are they wonât make any sound, they might even pretend like theyâre fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).
if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like theyâre fine in front of everybody until their body canât take it anymore and so they can no longer pretend?
neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning â think of it as an electric shock that causes through your characterâs body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.
EMOTIONAL PAIN
grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)
heartbreak â your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everythingâs fine, that theyâre not hurt. until they break down.
betrayal can leave a character with confusion, the feelings of âwhat went wrong?â, so itâs understandable if your character blames themself at first, that maybe itâs their fault because theyâve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think theyâve done something wrong that resulted in them being betrayed, they may also be angry at themself next for âfallingâ for the lies and for âbeing fooledâ. so yes, betrayal can leave your character with the hatred thatâs directed towards the character who betrayed them and themself. whether or not your character can âmove on and forgiveâ is up to you.
there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly wonât be anything like âugly sobbingâ but your characterâs eyes can be bloodshot, red-rimmed and there will be tears, only that there wonât be any sobbing in most cases.
hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if theyâre desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. thereâs no âout of characterâ if they are hopeless and are desperate enough.
fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if itâs severe enough.
and I think thatâs it for now! feel free to add anything I may have forgotten to mention here!
For anyone who wants to learn, (especially aro/ACE, aspec, ect.)
Requested by the lovely @darkandstormydolls
Alrighty! Welcome back or welcome to my blog! I'm dipping my toes back into the category of posts that gained me my exposure!
So if you're here, you want to know how to write romantic attraction/romance!
Strap in and let's begin!
(Pls spread this to people you think would benefit from seeing it, or anyone who requested it bc I forgot, ANY ASPECS)
Step one -
Your characters must admire one another at the beginning, Romantic feelings usually do not present themselves as obvious until you really think them through, meaning your characters may not notice they have a crush until it's too late
These are general statistics and light stereotypes. So feel free to not use this tip:
Male characters usually tend to notice physical things first, like body shape, hair, skin, clothing, the way their lover moves, ect
And Female Characters Generally tend to notice more small things and personality-based traits first, like their lover's humor, speaking mannerisms, shifts in expression, ways they fidget, emotion in their voice, ect.
And someone who is in love will generally show more interest in this particular person's movements, actions, words, and anything in general.
Step 2 -
The character will show more interest in sharing their love language with their lover/crush
Physical touch - People with physical touch love languages may want to hold hands, cuddle, hug, or just lean on their crush whenever they are close to them moreso than they want to with others
Gift giving - Gift givers will want to get more gifts more often for their crush, probably thinking of them whenever they see little trinkets or wanting to get them big gifts for special occasions or signs of appreciation
Acts of Service - Acts of service people will offer to do extra favors and a bunch of extra stuff they don't have to do twice as much as normal
Words of Affirmation - Flattery, they will generally flood their crush with kind words and compliments
Quality time - Quality time people will want to spend time with their crush at almost every turn, and when they want company, will turn to their crush first
Step 3 -
After a while, these urges while become very prominent and more noticeable to the person having them
They may find themselves fantasizing about their crush or having them show up in their thoughts more and more, feeling nicer and happier when they're around, or when they're thinking about them
Smiling when they think about them, cutsey little fluff thingies like that
A crush is essentially: I want to date that, I want to be near that always, I want to marry that, I want that to snuggle me (or other love languages)
Or in simpler terms: if that asked me out, I would say yes (or at least want to say yes if your character is in denial)
Step 4 -
The character's urges to be close to this person grows strong enough that they do smth about it, whether prompted by another character. Or they just don't know I how to not anymore (like when you wanna eat candy and you don't want to, but you do anyway bc I JUST NEED THE CHOCOLATE OKAY?)
(Or for Aro/Ace, garlic bread)
People who are in love are generally very prone to be all dreamy and poetic and VERY EXTREMELY BIASED towards their crush
Then Yada Yada they kiss & shit
You're welcome, BYEEEEEEEE đ
Happy writing!
Love you! Thanks for reading, And Ghost Tumblr Mother says go drink some water and have a snack, you've earned it, and you are beautiful <333
HookâThe first line, lines, or paragraph meant to grab the readerâs attention
For most people, a night out at the movies includes sitting through the coming attractions. We watch these short bursts of scenes that scare us, intrigue us, make us laugh, and sometimes nearly bring us to tears. No matter the preview, though, if it looks good, we want to go see the movie. An effective âhookâ in your story works the same way. You want to grab your reader right away and compel them to continue reading.
Some common strategies for creating a hook & examples:
Anecdote: My hands shook and beads of sweat rolled down my face. I double-checked the directions before assembling my tools and turning up the heat. Making lasagna shouldnât have been this stressful, but in my grandmotherâs kitchen, the stakes were a little higher.Â
Direct quote: âBe open and use the world around you.â Toni Morrison gives this advice about the craft of writing, but I find that it applies to most areas of my life.
General statement or truth: Every child, no matter how sheltered or well-adjusted, will experience fear. Whether they are scared of the monster under the bed or the neighborâs barking dog, children experience fear as a normal and healthy part of childhood.
History: On Wednesday, August 28, 1963, thousands traveled to Washington D.C. by road, rail, and air. There were demonstrators of all races, creeds, and genders. Unafraid of the intimidation and violence they faced, they demonstrated for the rights of all. Known as The Great March on Washington, this day marked an important turning point in the Civil Rights Movement in the United States.
Metaphor: Stretched out in a sunbeam, my cat may seem timid, but really, sheâs a lion. She will stealthily stalk her prey, attack without mercy, and leave a trail of blood and guts in her wake. Afterward, as she grooms her luxurious mane, she shows no remorse.
Scene or illustration: Shadows stretch across the pavement as jack-o-lanterns flicker in windows. Little trick-or-treaters scamper from porch to porch, filling their bags with various forms of sugar. It is the day dentists dread most: Halloween.
Sensory description: The stale smell of cigarettes engulfed me as I stepped into the dim, silent apartment. The heat had been turned off, so I could see my breath fog in front of me as I carefully stepped over the old pizza boxes, overturned cups, and random pieces of paper strewn across the floor.
Startling statistic or statement: Teenage drivers crash their cars at nearly ten times the rate of older drivers.
do you have any tips for writing arguments/fights?
Before you write an argument, know why each character is upset. Understanding their motivations will make the conflict feel authentic.
What are their personal stakes? What do they stand to lose or gain?
What are their emotional buttons? What specifically sets them off?
Keep Dialogue Realistic, Arguments often involve interrupted sentences, raised voices, and heightened emotions.
People often cut each other off in heated arguments. Use dashes or ellipses to show interruptions.
Use short, sharp sentences to convey anger or frustration.
Donât be afraid to use exclamation points sparingly to show yelling or intense emotions.
Example:"I can't believe you did that!" she shouted. "I had no choice!" he interrupted, throwing up his hands. "You never listen to me!"
Show, Donât Just Tell, Body language and physical actions can add a lot to an argument. Show how characters are feeling through their actions:
Clenched fists, crossed arms, pacing, or avoiding eye contact can show tension.
A character might slam a door, throw something, or storm out.
Flushed cheeks, narrowed eyes, or a furrowed brow can convey anger or frustration.
Build Tension Gradually, Arguments often escalate rather than start at full intensity. Build the tension step by step.
Start with a minor disagreement or a tense conversation.
Let the argument build as each character becomes more invested and emotional.
Reach a peak where the characters are at their most heated and emotional.
Decide whether the argument resolves or leaves characters estranged.
Use Emotional Beats, Incorporate moments of realization, regret, or empathy within the argument. These emotional beats can add depth:
A character might have a sudden realization in the middle of the argument.
Show a character feeling immediate regret after saying something hurtful.
A character might momentarily see the otherâs point of view, even if they donât fully agree.
Reflect the Stakes, Make sure the argument reflects the stakes of the story. The higher the stakes, the more intense the argument should be. If itâs a minor disagreement, keep it low-key. If itâs a life-changing issue, let the emotions and tension run high.
Vary the Pacing Not all arguments need to be fast and furious. Vary the pacing to reflect the ebb and flow of real conversations, Use quick back-and-forth dialogue for intense moments. Allow for pauses where characters collect their thoughts or calm down slightly before the next surge of emotion.
Consider the Aftermath, Think about the consequences of the argument. How does it affect the characters and their relationships moving forward?
Are characters feeling guilty, relieved, or still angry?
Does the argument bring characters closer, or does it drive a wedge between them?
Example of a Written Argument
"You never take my side!" Luana shouted, her voice echoing in the small apartment. "That's not true," Jamil replied, his tone defensive. "I just don't think youâre being reasonable." "Reasonable?" She laughed bitterly, crossing her arms. "You call ignoring my feelings reasonable?" "I'm not ignoring your feelings!" Jamil snapped, taking a step closer. "I just think you're overreacting." "Overreacting?" Luana's face flushed with anger. "You always say that! Every single time I bring up something important!" "Well, maybe if you didn't blow things out of proportionâ" "Don't you dare say that!" she interrupted, her voice trembling. "I can't talk to you when you're like this." "Fine," he muttered, turning away. "Maybe we shouldnât talk at all."
Just a few suggestions. You shouldnât have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.
1. Vary sentence structure.
This is an example paragraph. You might see this generated from AI. I canât help but read this in a robotic voice. Itâs very flat and undynamic. No matter what the words are, it will be boring. Itâs boring because you donât think in stiff sentences. Comedians donât tell jokes in stiff sentences. We donât tell campfire stories in stiff sentences. These often lack flow between points, too.
So funnily enough, I had to sit through 87k words of a âromanceâ written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didnât tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.
2. Vary dialogue tag placement
You got three options, pre-, mid-, and post-tags.
Leader said, âthis is a pre-dialogue tag.â
âThis,â Lancer said, âis a mid-dialogue tag.â
âThis is a post-dialogue tag,â Heart said.
Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.
They help break up long paragraphs of dialogue that are jank to look at
They give you pauses for ~dramatic effect~
They prompt you to provide some other action, introspection, or scene descriptor with the tag.
*don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.
It also looks better along the lefthand margin when you donât start every paragraph with either the same character name, the same pronouns, or the same â as it reads more natural and organic.
3. When the scene demands, get dynamic
General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if youâre in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.
Like, in horror, you can use a lot of onomatopoeia.
Drip
Drip
Drip
Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.
You can toss out some grammar rules, too and get more poetic.
Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp.
She shivers. If she doesnât look, itâs not there. If she doesnât look, itâs not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba-
It moves on, leaving a void of cold behind.
She uncurls her fists, fingers achy and palms stinging from her nails.
Itâs gone.
4. Remember to balance dialogue, monologue, introspection, action, and descriptors.
The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like theyâre notecards to be read on a stage is higher than I expected. Donât forget that though you may know exactly how your dialogue sounds in your head, your readers donât. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.
If youâve written a block of text (usually exposition or backstory stuff) thatâs longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narratorâs feelings on what theyâre saying and whoever theyâre speaking toâs reaction to the words being said. Otherwise itâs meaningless.
â
Hope this helps anyone struggling! Now get writing.
Everyone collectively shifted their gazes towards him.
His eyes widened like they were about to burst.
His eyes widened like saucers.
Humor was twinkling in his eyes at the irony of the situation.
Emotionless eyes contrasted with charged words.
His gaze parted from hers.
She caught his gaze with hers
He glared daggers.
Her eyes were fierce, but still reflected compassion.
Her hilariously wide eyes.
Ensnared by a pair of eyes.
Jane bore down on her friend with her sharp eyes, but surprisingly the glare had no effect.
A flash of frustration creased her brow and sparked in her eye, letting him know that his sound wasn't appreciated.
Their eyes trained on each other and silence swept over them.
His golden eyes dissected her, seeming to examine every quirk of her expression.
He could feel her gaze cutting into him.
Once again, he turned back to her, and was rewarded with just a small smile and her warm eyes.
His sky blue eyes veiled towards the large window claimed by the freezing temperatures.
His eyes burned into her, the fire intent on destroying whatever it could catch but she was ready for it this time.
His eyes scoped out the make-shift battle ground searching for something, anything that could help him out.
Their stares remained interlocked, neither of them making a move to look away.
His golden eyes shone in the dim light, reflecting every insecurity within him.
Amusement danced in those green eyes.
Her gaze flitted between their blanket and him.
Shielding her eyes on instinct, Jane recovered with wary blinks.
Red optics bore into her widened, watering eyes.
He gave John a sidelong stare.
His optics settled on Jane as she raised her fist with cheer.
The stare was of one hurt and buried, as if they feared being vulnerable more than the cold reality they had manufactured and serviced.
His stare was as uncomfortable as a chorus-girl corset and had the same effect on Janeâs breathing, constricted and shallow. There was no life behind those eyes. Every move he made betrayed his intentions and none of them were noble.
His eyes searched hers, looking to find some shred of... emotion in them.
He rolled his eyes, a nonverbal expression of exasperation.
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