20 Compelling Positive-Negative Trait Pairs

♡ google docs template: VERSION UP

pt-br: Eu fiz esse template pra usar no meu blog de muses e já quis aproveitar pra compartilhar ele aqui. É bem simplesinho, porque é literalmente o primeiro template de docs que eu já fiz, ele é de uma página (se você escrever o suficiente pra passar de uma página, vai ficar estranho) para um personagem só. Para usar é só ir em arquivo > fazer uma cópia. E para trocar a imagem, é só clicar com botão direito > substituir imagem. Não remova os créditos. E, por favor, deixe seu like e reblog, caso vá usar.

eng: I made this template for my muses blog, and now I'm sharing it. It's very simple, because it's the first template I've ever made. It's a single-page single-muse template (if you write more than one page, it'll look weird). To use it, just click on file > make a copy. And to change the picture right click > replace image. Don't remove the credits. And, please, like and reblog if you're using it.

DOWNLOAD HERE (or click the source link)

Ways I Show a Character Is Secretly Lonely (Even When Surrounded by People)

I love writing characters who insist they’re “fine” while clearly radiating the desperate energy of a dog left home alone for eight hours with no enrichment activities.

They laugh too loud at jokes that aren’t funny. And not just a chuckle—like full-blown sitcom audience laughter. Because if they laugh hard enough, maybe no one will notice the hollow echo inside.

They overshare weirdly fast. First conversation? Congrats, you now know about their third-grade trauma and their mom’s weird obsession with Tupperware. It’s like emotional diarrhea: uncontrollable, messy, and a cry for connection they don’t even realize they’re making.

They get way too invested in minor social interactions. The barista remembered their name? That’s the emotional highlight of their month now. They’re writing about it in their journal tonight.

They cling to any group or friend who gives them an ounce of attention. Book club? Bowling league? Interpretive dance class for introverts? They’re signing up just to hear someone say, “See you next week.”

They’re the ultimate “life of the party” but go home feeling like they were never actually seen. Because if you're entertaining enough, nobody looks too closely at the emptiness.

Their texts are weirdly enthusiastic at 2 a.m. "OMG WE HAVE TO HANG OUT!!!!" followed by weeks of silence. It’s not flakiness, it’s a tidal wave of loneliness crashing into a wall of shame.

They constantly post selfies, group photos, “Having so much fun!!” posts… and yet, somehow, you can smell the loneliness through the screen. (If you could bottle that vibe, it would smell like stale wine and unsent texts.)

They stay in bad relationships just to not feel alone. Red flags? They’ve knitted a full quilt out of them. Because someone is better than no one, right? (It’s not.)

They sabotage good relationships because vulnerability is scarier than loneliness. "If I push them away first, they can’t hurt me!" - them, crying alone on a Friday night, claiming they're just "enjoying some me-time."

They have this glazed look when people talk about “close friends.” Like they know what it’s supposed to feel like, but they’re running on Google Image results and secondhand memories from coming-of-age movies.

Moral Dilemmas That Will Mess Up Your Character

» They witness a crime but helping the victim means exposing a secret that could ruin someone they love.

» They could save someone’s life… but only by hurting someone else.

» They’re offered everything they’ve ever wanted, by the worst person they know.

» They have to lie to protect someone, but the lie costs someone else dearly.

» They can bring justice, but only by breaking a promise.

» They’re given power, but to keep it, they have to become what they hate.

» They have the chance to take revenge, and it would be so easy. So satisfying.

» They’re the only one who knows the truth, but telling it would destroy someone’s faith.

» They could protect the many, by sacrificing the one. And the one matters to them.

» They promised not to get involved, but walking away would haunt them forever.

» They were wrong  and admitting it now will shatter their credibility.

» They’re asked to forgive, and they know the person doesn’t deserve it.

» They have to pick a side, but both sides are flawed. Both will cost them something.

» They want to help, but they’re not sure it’s their place.

» They said they’d never become their parent and now they’re staring in the mirror, wondering if they already have.

» They catch their friend doing something terrible, but they owe them everything.

» They can’t tell if they’re protecting someone, or controlling them.

» They get what they want, but someone else suffers for it.

» They promised to keep a secret, but now someone innocent is getting hurt.

» They fall in love and realize it compromises everything they believe in.

The fuck are you supposed to do with the semicolon ; ?

We’ve discussed the comma and the dash brothers—finally, the time has come for the less sexy relative: the semicolon. But how do we use it?

1. To link two related independent sentences

He didn’t believe in fate; she made him reconsider.

The forest was silent; even the wind held its breath.

Slap a semicolon between two complete sentences that are closely related but not joined by a coordinating conjunction (like and, but, or so). This creates a subtle pause—somewhere between a comma and a period—and it shows the relationship between the two sentences.

2. To separate items in a complex list

She packed her bags with care: a red silk dress, delicate and expensive; an old photograph, creased and faded; and a knife, sharp as her resolve.

As you can see, semicolons help with clarity. If the items in your list already contain commas, use semicolons to avoid confusion.

3.  To balance contrast or comparison

He spoke in riddles; she answered in truths.

The sun warmed their backs; the storm waited ahead.

Here we have a slightly sexier use of semicolons. They can elegantly balance two ideas that contrast or reflect one another.

Making a Character Whine in Monologue

I’m a big believer in letting characters bleed quietly. You know, the kind of emotional tension that simmers just under the surface—not the dramatic “I am torn!” speeches. Here’s how I like to sneak internal conflict into my writing without making my characters feel like they belong in a bad soap opera... Have Fun! (｡♥‿♥｡)

╰ Saying the opposite of what they feel. Like insisting they’re fine while gripping a coffee mug like it personally insulted their ancestors.

╰ Pausing before responding to something simple. Because sometimes the silence says “I’m thinking too hard about this” louder than a whole paragraph ever could.

╰ Changing the subject when things get too close to their emotional soft spot. Classic evasion. Bonus points if they pretend it's for someone else’s sake.

╰ Making choices that contradict their stated goals. "I swear I’m over them"—cut to them rerouting an entire road trip to pass by their ex’s hometown.

╰ Being too nice. Yep. People-pleasing? Avoidance in a trench coat.

╰ Fixating on a tiny, irrelevant detail while avoiding the bigger thing. They can’t deal with their grief, but they can definitely spend 12 minutes lining up pens perfectly.

╰ Snapping at someone they trust—then immediately regretting it. Because pain has to leak out somewhere, and it’s usually not in a convenient monologue.

╰ Doing something “just in case,” but obviously hoping for the opposite. Packing a goodbye gift they never plan to give. Writing a message they never send.

╰ Rewriting memories in their head. “It wasn’t that bad. They didn’t mean it. I probably deserved it.” A spiral in slow motion.

╰ Being hyper-aware of how others are reacting to them. Internal conflict often turns into external paranoia: “Did she flinch? Was I too cold? Did he see that?”

Physical Contact Masterpost

Hand-Holding Dialogue

Hand-Holding

Touching

Hugs

Hugging Dialogue

Touch Starved Prompts

Touches Ask Games

Super soft intimacy

Casual Affections

Seeking out physical affection

Romantic, non-sexual intimacy prompts

Kisses

First Kisses

First Kiss Prompts

Accidental Kisses

Places for kissing

Angsty Kisses

If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰

Body Language Cheat Sheet For Writers 

╰ Facial expressions

These are your micro-signals, like the blinking neon signs of the soul. But they’re small, quick, and often lie harder than words.

Raised eyebrows — This can mean surprise or disbelief, sure. But it can also be a full-on, silent “Are you serious right now?” when someone’s being ridiculous. Or even curiosity when someone’s too emotionally repressed to askthe damn question.

Furrowed brow — That face people make when they’re doing long division in their head or trying to emotionally process a compliment. It’s thinking, yes—but also confusion, deep frustration, or quiet simmering rage.

Smiling — Can be happiness… or total fake-it-till-you-make-it energy. Some smiles are stiff. Some don’t reach the eyes. Show that.

Frowning — Sure, sadness. But also: disappointment, judgment, or the universal “I’m about to say something blunt, brace yourself.”

Lip biting — It’s not just nervousness, it’s pressure. Self-control. Anticipation. It’s the thing people do when they want to say something and decide, at the last second, not to.

╰ Eye movement

The window to the soul? Yeah. But also the window to when someone’s lying, flirting, or deeply trying not to cry in public.

Eye contact — Confidence or challenge. Eye contact can be gentle, curious, sharp like a blade. Sometimes it’s desperate: “Please understand me.”

Avoiding eye contact — Not always guilt. Sometimes it’s protectiveness. Sometimes it’s “I’m afraid if I look at you, you’ll see everything I’m trying to hide.”

Narrowed eyes — Calculating. Suspicious. The look someone gives when their brain’s saying “hmmm...” and it’s not a good hmm.

Wide eyes — Surprise, yes. But also sudden fear. The oh-God-it’s-happening look. Or when someone just found out they’re not as in control as they thought.

Eye roll — Classic. But try using it with tension, like when someone’s annoyed and trying very hard not to lose it in public.

╰ Gestures

This is where characters’ emotions go when their mouths are lying.

Crossing arms — Not just defensive. Sometimes it’s comfort. A self-hug. A barrier when the conversation is getting too personal.

Fidgeting — This is nervous energy with nowhere to go. Watch fingers tapping, rings spinning, sleeves tugged. It says: I’m not okay, but I’m trying not to show it.

Pointing — It’s a stab in the air. Aggressive, usually. But sometimes a desperate plea: Look. Understand this.

Open palms — Vulnerability. Honesty. Or a gesture that says, “I have nothing left to hide.”

Hand on chin — Not just thinking. It’s stalling. It’s delaying. It’s “I’m about to say something that might get me in trouble.”

╰ Posture and movement

These are your vibes. How someone occupies space says everything.

Slumped shoulders — Exhaustion. Defeat. Or someone trying to take up less space because they feel small.

Upright posture — Not always confidence. Sometimes it’s forced. Sometimes it’s a character trying really, really hard to look like they’re fine.

Pacing — Inner chaos externalized. Thinking so loudly it needs movement. Waiting for something. Running from your own thoughts.

Tapping foot — Tension. Irritation. Sometimes a buildup to an explosion.

Leaning in — Intimacy. Interest. Or subtle manipulation. (You matter to me. I’m listening. Let’s get closer.)

╰ Touch

This is intimacy in all its forms, comforting, protective, romantic, or invasive.

Hugging — Doesn’t always mean closeness. Could be a goodbye. Could be an apology they can’t say out loud. Could be awkward as hell.

Handshake — Stiff or crushing or slippery. How someone shakes hands says more than their words do.

Back patting — Casual warmth. Bro culture. Awkward emotional support when someone doesn’t know how to comfort but wants to try.

Clenched fists — Holding something in. Rage, tears, restraint. Fists mean tension that needs somewhere to go.

Hair tuck — Sure, flirtation or nerves. But also a subtle shield. A way to hide. A habit from childhood when someone didn’t want to be seen.

╰ Mirroring:

If two characters start syncing their body language, something is happening. Empathy. Chemistry. Shared grief. If someone shifts their body when the other does? Take notice. Other human bits that say everything without words...

Nodding — Not just yes. Could be an “I hear you,” even if they don’t agree. Could be the “keep going” nod. Could be patronizing if done too slow.

Crossed legs — Chill. Casual. Or closed-off, depending on context. Especially if their arms are crossed too.

Finger tapping — Time is ticking. Brain is pacing. Something’s coming.

Hand to chest — Sincerity, yes. But also shock. Or grounding—a subconscious attempt to stay present when everything feels like too much.

Tilting the head — Curiosity. Playfulness. Or someone listening so hard they forget to hide it.

Temple rub — “I can’t deal.” Could be physical pain. Could be stress. Could be emotional overload in disguise.

Chin stroking — Your classic “I’m judging you politely.” Often used in arguments between characters pretending to be calm.

Hands behind the back — Authority. Control. Or rigid fear masked as control.

Leaning body — This is the body betraying the brain. A tilt toward someone means they care—even if their words are cold.

Nail biting — Classic anxiety. But also habit. Something learned. Sometimes people bite because that’s how they self-soothe.

Squinting — Focusing. Doubting. Suspicion without confrontation.

Shifting weight — Uncomfortable. Unsure. Someone who wants to leave but doesn’t.

Covering the mouth — Guilt. Hesitation. The “should I say this?” moment before something big drops.

Body language is more honest than dialogue. If you really want to show your character’s internal world, don’t just give them lines. Give them a hand that won’t stop shaking. Give them a foot that won’t stop bouncing. Give them a mouth that smiles when their eyes don’t. And if you’re not sure what your character would do in a moment of fear, or love, or heartbreak, try acting it out yourself. Seriously. Get weird. Feel what your body does. Then write that down.

𝗦im𝗯𝗼𝗹os 𝗽ar𝗮 𝘂sa𝗿 𝗲m 𝗯io𝘀 𝘀oft𝘀

- symbols to use in bios softs ♡

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↻ ◃◁ II ▷▹ ⇄

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ᵃᵇᶜᵈᵉᶠᵍʰⁱʲᵏˡᵐⁿᵒᵖᵠʳˢᵗᵘᵛʷˣʸᶻ

ᴀʙᴄᴅᴇғɢʜɪᴊᴋʟᴍɴᴏᴘϙʀsᴛᴜᴡxʏᴢ

sometimes you need dialogue tags and don't want to use the same four

how to weave subplots into your story without getting tangled in the mess

Subplots: the spicy side quests of your main narrative. They deepen your world, flesh out your characters, and keep things interesting. But if you’ve ever added one and ended up with a story that feels like it’s running in six directions at once… yeah. Let’s fix that.

1. your subplot should serve the main plot

Don’t just throw in a romance arc or a secret sibling reveal because it’s fun (though it is fun). Ask:  

- Does this subplot challenge the main character’s goals?  

- Does it echo or contrast the main theme?  

- Does it change something by the end?

If it’s just a cute side quest with no real impact, it’s fanfic material for your own story. Cool, but maybe not plot-essential.

2. intertwine, don’t parallel

Bad: your subplot exists in a bubble, running beside the plot but never touching it.  

Better: your subplot interacts with the main plot. Maybe it complicates things. Maybe it supports the MC in a moment of crisis. Maybe it explodes everything.

Example: your MC is hunting a killer, and the subplot is their failing marriage. Good subplotting means the stress of the hunt affects the marriage, and the marriage affects the hunt.

3. stagger your arcs

Your main plot might hit its midpoint twist at chapter 10. Have a subplot hit a *smaller* emotional beat around chapter 7 or 13. It keeps pacing dynamic and gives your readers something to chew on between big moments.

4. use subplots to develop side characters

Side characters are more than background noise. Give them wants. Give them stakes. Let their stories *collide* with your MC’s. That’s when the magic happens.

5. know when to shut it down 

Not every subplot needs a 3-act structure and a dramatic finale. Some are small. Some fade out naturally. Some just shift the perspective enough to reframe the main plot. If you’re tying up subplot #6 with a bow in the epilogue, maybe ask yourself if it really needed to be there.

6. outline the spiderweb 

It helps to map out how every subplot connects to the main story. Literally. Draw lines. Make a chaos diagram. It doesn’t have to be neat—just make sure those threads touch.

TL;DR:

Subplots are great. Subplots are juicy. But they’re not decoration—they’re infrastructure. Weave them into the story’s bones or risk writing 3 novels in one.