How Body Language Changes When A Character Is Falling In Love (Whether They Admit It Or Not)

🐝  *  ―  𝑺𝑯𝑰𝑷𝑷𝑰𝑵𝑮 𝑺𝑯𝑬𝑬𝑻.

send 🚢 or ( 'SHIP' ) if you ever considered shipping our characters romantically and want me to fill out the following form for our muses. bold all that definitely applies, italicize what could potentially apply. feel free to add more if you think certain options are missing or you just want to add more.

do i ship our characters together?: yes | no | not yet but maybe soon

would i like to ship with you?: yes | maybe, i'm willing to try | no

type of relationship i could see: childhood or high school sweethearts | exes | engaged | married | long-term relationship | crushes | unrequited love | fling | long distance | online relationship | just dating | new relationship | toxic lovers | friends with benefits

tropes i'd enjoy writing for them: friends to lovers | enemies to lovers | exes to lovers | fake relationship / dating | forbidden love | grumpy and sunshine | star-crossed lovers | surprise pregnancy | second chance | soulmates | amnesia / mistaken identity | forced proximity | secret relationship | slow burn relationship

would i rather plot first or jump right in and see where it goes?: develop their relationship first | jump right in | something in between ( what specifically? )

what now?: let's plot something | send me shippy memes | i'll send you shippy memes | write me a random starter | i'll write you a random starter

anything else i want you to know about me / my character / my shipping habits: ( put whatever you want here )

Character Movements #1

╰ Sighing

Not just “he sighed.” That’s lazy. Give us the why behind the air. Is it the kind of sigh that deflates their whole chest, like they’ve been holding the world on their lungs? Or one sharp exhale through the nose, all frustration and fed-up energy? Maybe it’s quiet—barely audible. Maybe they don’t even realize they’re doing it. But the room shifts a little when they do. Sighs can mean “I give up,” or “finally,” or “not this sh*t again.” Just depends on what’s dragging at their ribs.

╰ Shivering

This isn’t just about cold. A character can shiver in a warm room if they’re scared enough. Maybe their skin prickles before it starts, like tiny goosebumps racing up their arms. Maybe it hits in a full-body tremble, their breath catching like something primal in them just screamed “danger.” Or maybe it’s subtle, like a soft internal quake they’re trying not to show. It’s the kind of movement that betrays the truth they won’t say out loud.

╰ Trembling Hands

Shaking hands are so intimate. They’re not dramatic—they’re revealing. It’s the way their fingers fumble to light a cigarette. The way they have to tuck their hands under their thighs so no one sees. Maybe they keep reaching for the glass but can’t quite get a grip. Or maybe they do grip and the tremor runs through the whole glass like a warning. It’s not about the shake. It’s about the fact they wish they weren’t shaking at all.

╰ Clenching Fists

This one? Its tension incarnate. And it doesn’t always mean someone’s about to punch something. Sometimes they ball their fists just to keep from crying. Or because they’re trying so hard not to say something they’ll regret. Look for the subtleties: white knuckles, nails digging into palms, fists flexing open and closed like they’re trying to wring out emotion. It’s control. Rage. Determination. Or the act of stuffing all that inside a cage of fingers.

╰ Biting Nails

It’s more than “they’re nervous.” It’s compulsion. Habit. A survival tic. They might not even realize they’re doing it—just fingers to mouth, chewing down without looking, like their body’s trying to chew through the waiting. Maybe their nails are ragged. Maybe they flinch when they bite too deep. Maybe it’s the sound, the soft click of teeth and nail in a dead-silent room. It’s vulnerability dressed up as fidgeting.

╰ Tapping Fingers

This is the soundtrack of a restless mind. Is the rhythm sharp? Fast? Jittery? Are they tapping with one finger like a countdown—or all five, like a rainstorm on the table? They might not even notice. But other people do. Someone asks them to stop, and they bristle. Or they stop mid-tap when someone says the wrong thing, and that silence? That silence is loud. Tapping fingers are rarely idle. They’re keeping time with the character’s thoughts.

╰ Pacing

Pacing isn’t just walking back and forth—it’s the body trying to outrun a thought. They stand. They sit. They stand again. They move because stillness feels like being buried alive. Maybe their footsteps are soft, barefoot across carpet. Or hard-soled and echoing through a hallway like a threat. Maybe they walk a perfect loop, over and over. Maybe it’s erratic, jerking toward the door, away, toward again. Their mind is spinning, and their body’s just trying to keep up.

╰ Slumping Shoulders

This isn’t just a posture change—it’s the moment the weight wins. Shoulders that sag say “I lost.” Or “I’m done.” Or “Please don’t ask me to care anymore.” Maybe they slump in a chair and stare at the floor. Maybe they’re standing, but something in them folds anyway. Their spine’s still straight, but their shoulders fall like scaffolding giving way.

╰ Tilting Head

Simple movement—loaded meaning. They tilt their head when someone says something that doesn’t quite click. Or when they’re trying to listen harder, like angling their body will help them hear the truth under the words. Maybe the tilt is sharp and skeptical, like “You sure about that?” Or soft and curious, like “I’m trying to understand.” Or just a little too slow, too drawn out—like a predator sizing up prey. It’s instinctual. And it always means they’re paying attention.

╰ Rubbing Temples

This one screams I’m trying to hold it together. It might be frustration. Migraine. Bone-deep exhaustion. They press fingers to their temples like they’re physically trying to squash the problem before it leaks further into their head. Maybe their fingers circle gently, trying to soothe themselves. Maybe it’s two fingers, firm pressure, eyes closed, jaw clenched. It’s the gesture of someone whose brain won’t shut up—and whose body knows it.

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

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

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Writing Platonic Relationships

When writing relationships between characters, one of the best things you can do as a writer is master the art of platonic relationships. Not every relationship has to turn romantic—and when done right, platonic bonds can hit harder than love stories.

But writing them well? That takes a lot of intentionally-written cues and dialogue. Here are just a few tips:

1. Establish emotional intimacy early

Platonic doesn’t mean distant. Let them see each other. Let one character be the first person the other calls when things go wrong. Show moments of vulnerability, casual care, and trust without flirty undertones. Let them have traditions, inside jokes, or quiet routines together.

2. Don’t hint at romance “just in case”

If you’re going for a purely platonic vibe, don’t toss in romantic tension as bait. It cheapens the relationship. Let them have chemistry that’s based in compatibility, not attraction. Not every deep bond needs a romantic subplot. Avoid unnecessary lingering glances or “almost touch” moments unless it’s 100% platonic context (e.g., comforting after a trauma).

3. Give them shared history or shared growth

Platonic duos feel real when we see how they’ve been through things together. Maybe they survived something. Maybe they just grew up side by side. What matters is that their connection isn’t shallow. Flashbacks, casual references to “remember when,” or unspoken teamwork go a long way.

4. Let them be physically close without it meaning more

One character leaning on the other’s shoulder. Braiding hair. Holding hands in a high-stress moment. All of this can be platonic when framed right. Normalize physical affection without romantic framing. You could show how each character interprets the touch. If it’s comfort or instinct—not attraction—it’s platonic.

5. Use other characters to reinforce it

Have others in the story acknowledge the bond without assuming it’s romantic. It helps the reader accept it as non-romantic, too. Maybe someone can say, “You two are like siblings” or “You always have each other’s back.” Reinforce the type of love.

6. Give them conflict—but let them choose each other

Don’t make it perfect. Platonic love, like any bond, includes disagreement. But when they still come through for each other, that’s what makes it powerful. Maybe one apologizes without ego. The other forgives without resentment. That’s platonic strength.

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Platonic relationships aren’t the backup to romance—they’re their own kind of energy. They don’t need to be slow-burn romances in disguise. Let them be bold, soft, loud, or quiet—but most of all, real. Because at the end of the day, platonic love deserves to be written with the same depth, stakes, and tenderness as any love story.

Tropes, Clichés, Themes, Archetypes

A writer’s guide to tropes, clichés, themes, archetypes, and stereotypes.

Trope, Theme, Cliché, Motif, Archetype A post that provides detailed definitions of each of these terms.

Stereotypes, Archetypes, Tropes, Clichés A lengthy guide that provides detailed explanations of these terms, along with examples. Also offers advice and suggestions for how to use them in your writing, and suggests things to consider when using them. Many of the additional resources are broken links. Only about half of the referenced links work.

Tropes vs. Clichés Explains the difference between tropes and clichés. Explains why using a trope that has been used before doesn’t matter, but rather how you use it.

All Stories Have Themes Briefly explains what a theme is, and how every story has themes in it.

Reusing an Idea Too Much A tumblr thread that explains why you don’t have to worry about using the same themes or ideas in your story that have been used before.

How You Tell the Story Matters Explains that different people can do different things with the same basic plot, concept, or trope by using their own voice and style choices.

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I’m a writer, poet, and editor. I share writing resources that I’ve collected over the years and found helpful for my own writing. If you like my blog, follow me for more resources! ♡

welcome  to  a  guide  for  2025  rpc  and  a  throwback  to  the  importance  of  creating  well  rounded  ,  developed  characters  .

a  general  lovenote  and  reminder  on  how  to  create  characters  people  want  to  rp  with  ,  as  discussed  by  g.    please  note  ,  these  are  all  my  own  thoughts  and  feelings  ,  but  i'm  not  '  married  '  to  any  of  this  .  i'm  happy  for  open  conversation  ,  thoughts  ,  feedback  etc  ,  but  i  don't  tolerate  aggressive  messaging  .

the  first  thing  i  think  about  when  i  think about  my  character  ,  whether  for  a  rp  ,  a  book  ,  a  short  story  ,  or  a  1x1  partner  is  .  .  .  where  is  my  character  ?  not  just  physically  ,  but  emotionally  .  what  got  them  there  ?  what  have  they  already  overcome  ?  what  do  they  have  LEFT  to  overcome  ?

whenever  i  write  or  create  a  character  ,  i  think  about  them  in  the  same  way  i  think  about  any  story  making  .  stories  (  typically  and  in  some  manner  )  have  beginnings  ,  climaxes  and  ends  .  they  also  have  problems  that  need  to  be  solved  (  or  not  solved  )  .  there's  an  arc  we  follow  .  we  go  up  the  mountain  ,  then  back  down  again  .

a  beginning  is  not  necessarily  '  born  in  1982  ,  to  two  loving  parents  '  .  it  doesn't  need  to  be  a  beginning  of  time  ,  but  can  just  be  the  beginning  to  your  characters  story  .  e.g  '  despite  having  two  loving  parents  ,  she  had  a  deep  focus  on  soccer  .  if  not  soccer  ,  then  maths  .  if  not  maths  ,  something  else  .  from  a  young  age  ,  she  strove  for  perfection  and  being  the  best  at  something  .'

this  beginning  sets  the  tone  of  your  character  .  in  a  few  sentence  ,  we  can  already  see  what  kind  of  person  she  is  and  know  that  she  has  some  internal  demons  she's  battling  .  we  don't  necessarily  need  her  entire  family  tree  unless  it's  critical  to  the  story.

from  there,  we  have  our  climax  or  problem  statement  ,  where  things  really  begin  to  boil  .  again  ,  it  doesn't  necessarily  need  to  be  '  everything  came  to  a  head  when  her  mother  died  '  .  we  can  make  it  more  character  focused  by  writing  '  in  2012  ,  her  mother  died  and  she  threw  herself  into  trying  to  create  the  perfect  replacement  family  .  she  got  married  to  4  different  men  in  the  space  of  5  years  ,  and  has  5  children  shared  among  them  ,  as  well  as  2  step  children  .  but  she  is  unable  to  settle  down  .  she  feels  restless  .  she  finds  it  hard  to  be  a  mother  because  everything  reminds  her  of  her  own  mother  ,  and  the  loss  she's  endured  .  '  now  ,  we  already  know  two  things  about  our  character  :

1  .  she  wants  to  be  perfect  and  the  best  ,  including  at  creating  families

2  .  she  is  terrified  of  her  role  in  motherhood  due  to  the  loss  of  her  own  mother  and  feeling  unmoored  without  her

this  can  then  take  us  to  the  problem  solving  portion  of  the  character  .  this  is  usually  where  i  like  to  start  my  character  in  rps  and  1x1  and  novel  worlds  .  we  have  these  2  issues  and  2  core  beliefs  within  the  character  .  they're  instrumental  to  her  .  how  are  we  going  to  overcome  it  ?  ARE  we  going  to  overcome  it  ?

we  can  begin  to  think  of  the  butterfly  effect  in  terms  of  our  character  .  we  can  begin  to  think  of  the  tree   and  its  branches  growing  within  her  ,  extending  out  to  other  characters  .  we  can  see  how  she  effects  other  people  ,  including  those  close  to  her  ,  not  close  to  her  ,  new  friends  ,  old  friends  ,  new  love  interests  ,  past  interests  .  we  can  create  drama  and  connections  because  we  have  a  strong  foundation  .

so  .  where  does  it  end  ?  does  it  need  to  end  happily  ?  simple  answer  is  no  .  your  character  can  end  in  the  exact  same  place  as  they  did  at  the  beginning  ,  but  the  point  is  that  we've  gone  on  the  journey  with  the  character  .  maybe  we've  seen  her  talk  to  her  mother's  grave  .  maybe  we've  seen  her  go  to  grief  counselling  .  maybe  she's  gotten  pregnant  or  married  again  .  the  problem  statement  doesn't  stop  her  or  stick  her  in  one  place  .  in  fact  ,  if  anything  ,  it  can  encourage  her  to  keep  making  the  same  mistakes  .  on  the  coin  flip  ,  she  can  learn  .  she  can  grow  .  she  can  heal  .  she  can  mend  the  relationships  with  her  kids  ,  her  past  partners  ,  rekindle  love  ,  or  find  new  love  .  the  whole  point  in  the  made-up  'ending'  for  a  character  ,  is  that  we  have  options  .  we  haven't  locked  her  down  .  we  can  continue  to  plot  ,  connect  ,  develop  ,  etc  ,  as  we  go  along  .

QUESTIONS  AND  THOUGHTS  I  CONSIDER  WHEN  CREATING  A  CHARACTER  :

how  has  your  character  ended  up  where  they  are  right  in  this  moment?  think  about  where  you’re  starting  them  from,  and  what  that  looks  like  realistically.  not  just  physically  :  how  did  they  get  to  this  place  ?  but  also  mentally  :  what  did  they  have  to  do  to  become  the  person  they  are  ?  was  it  good  or  bad  ?  everything  you  are  and  do  and  become  as  a  human  is  made  up  of  tiny  almost  inconsequential  decisions  or  choices  you  made.  you  decided  to  study  x.  you  broke  up  with  y.  your  parent  passed  away  so  you  had  to  come  back  to  your  childhood  home.  your  illustrious  career  came  crashing  down  and  you  need  a  place  to  cool  off.  you  never  left  here,  you’ve  been  here  from  the  beginning,  because  you’re  searching  for  something.  what  is  it?  what  is  the  thing  that  has  your  character  right  where  they  are  in  this  exact  moment  ? 

what  emotion  do  they  feel  the  most?  regret,  anger,  longing,  nostalgia  ?  this  helps  drive  your  characters  motives  past  and  presently.  it  also  helps  you  understand  their  goals.  what  they  want  to  achieve  and  why.  maybe  they  yearn  for  longing  and  friendship  and  connection  because  they  never  got  it  as  a  child,  whether  at  home  or  at  school.  maybe  they  regret  not  keeping  in  touch  with  their  childhood  friends  because  now  they  are  surrounded  by  people  they  can’t  trust  and  work  in  a  shitty  environment  where  you  have  to  climb  over  others  to  get  on  top.  everyone  has  a  goal.  everyone  has  an  emotion  that  drives  it.  what  is  your  characters  and  why  does  it  matter?  how  does  it  present? 

when’s  the  last  time  they  cried  and  why?  everybody  cries  and  everybody  cries  in  very  different  ways.  it  says  a  lot  about  the  emotional  state  of  a  character  and  their  emotional  health.  are  they  in  tune  with  their  emotions  and  cry  at  appropriate  times?  do  they  compartmentalise  it?  do  they  only  cry  when  angry?  dig  into  it  and  think  of  the  why  why  why.  why  does  my  character  only  cry  at  this  one  thing?  why  does  my  character  only  feel  safe  crying  alone?  why. 

what  is  your  characters  biggest  regret  in  life?  did  they  get  on  a  plane  when  they  should  have  stayed?  did  they  study  a  subject  only  because  their  parents  wanted  them  to?  did  they  not  kiss  the  girl  when  they  wanted  to?  let’s  be  honest.  our  lives  are  filled  with  “if  only  i’d  done  xyz”  .  if  only  .  this  also  provides  a  great  opportunity  to  MAKE  these  plots  and  plot  with  other  people.  now  we  can  come  up  with  exes  or  ex  best  friends  or  old  flames  or  whatever  whatever  ,  because  there’s  a  good  chance  your  character  regrets  something  that  impacts  someone  else  and  they  regret  it  BECAUSE  of  that  impact  . 

ADDITIONAL  THOUGHTS  AND  TIPS  I'VE  PICKED  UP  WHILE  RPING

honestly  the  more  “whys”  you  can  answer  for  your  character,  the  more  in  depth  you’re  getting.  in  order  for  other  people  to  understand  your  character,  you  need  to  understand  them  yourself.  you  can’t  expect  people  to  write  with  your  character  if  they  don’t  really  have  much  of  a  stable  personality  and  your  plots  don’t  make  much  sense.  remember:  plotting  should  contribute  to  your  character  and  their  development.  human  relationships  don’t  just  exist  because  we  like  them.  they  exist  because  they  serve  an  unserved  part  within  ourselves. 

genuinely  think  of  their  hobbies.  it’s  all  well  and  good  to  say  “she’s  a  bookworm  and  loves  puzzles”  “he  likes  music”  but  like.  what  does  that  actually  mean?  WHY  do  they  like  certain  things  ?  do  they  like  reading  books  or  writing?  do  they  like  fantasy  and  escapism  because  it  reminds  them  of  childhood?  do  they  listen  to  only  their  dads  favourite  music  because  they  miss  him?  do  they  make  playlists  for  niche  and  specific  moods  only  applicable  to  them?  why  are  their  hobbies  important  to  them? 

consider  their  connections,  not  just  future  but  npc  and  current.   how  would  5  close  friends  describe  them  in  one  word?  how  would  their  ex  describe  them  in  one  word?  what  is  one  thing  that  others  could  safely  always  rely  on  your  character  for  (eg  designated  driver  on  nights  out,  always  having  some  type  of  fidgeting  device,  knowing  a  phone  app  to  help  you  meditate  or  streamline  a  process  etc  etc).  we  all  exist  in  the  worlds  of  our  loved  ones,  past,  present  and  future.  we  leave  marks  with  them.  we  are  known  to  them.  so  what  is  your  character  known  and  loved  for? 

pick  your  plot  first,  not  your  fc  or  your  character.  i  know  this  sounds  counterintuitive  but  when  you  have  a  plot  for  a  character  and  a  clear  path  for  development  -  it  helps  everything  else  fall  into  place.  the  worst  thing  are  characters  that  are  plotless  (specifically  for  group  rping).  i’m  going  to  be  honest  here:  your  character  has  to  have  something  to  give  other  characters.  whether  it’s  drama,  information,  hidden  secrets,  a  connection…  your  character  has  to  have  something  of  substance.  i’d  actually  prefer  they’re  a  stereotype  then  they’re  just  aimless  and  personality-less.  when  you  have  a  big  overarching  plot  and  path  for  your  character,  it  will  not  only  help  you  plot  with  others,  but  also  help  keep  your  character  moving  and  not  JUST  reliant  on  others  to  pick  up  the  slack

rping  has  always  used  the  yes  and…?  rule.  that  extends  to  your  characters.  instead  of  yes  and…?  think  of  So…  what?  your  character  loves  to  bake.  ok.  so  what?  what  does  that  mean  for  a  thread,  or  another  character?  why  do  we  care?  maybe  we’d  care  if  your  character  bakes  experimental  stuff  and  loves  to  test  it  on  other  muses.  maybe  we’d  care  if  your  character  used  to  be  a  professional  baker  but  hasn’t  baked  lovingly  in  a  while.  maybe  we’d  care  if  your  character  is  a  baker  but  has  lost  their  charm  and  schtick  and  can’t  bake  the  way  they  used  to.  this  stuff  is  important.  don’t  just  stick  arbitrary  things  onto  your  character  and  expect  others  to  care,  especially  when  you  don’t  care  and  have  just  put  it  on  your  character  as  a  random  quirk.  that’s  not  how  people  and  humans  work.  everything  means  everything. 

your  character  doesn’t  have  to  be  likeable  but  they  do  have  to  be  memorable.  evil  nasty  girls,  manipulative  jerks…  yeah  that’s  all  ok!  but  also  you  kinda  have  to  show,  don’t  tell.  you  can’t  just  SAY  your  character  is  the  “head  bitch  in  charge”  and  then  she  never  actually  talks  or  says  anything  or  does  anything.  sorry,  but  in  order  for  me  to  see  your  character,  you  actually  have  to  write  them  or  at  the  very  least  headcanon  them.  otherwise,  they’re  just  a  blob  of  musings  in  the  ether. 

in  order  to  create  a  character  ,  you  have  to  write  your  character  .  i  see  this  a  lot  in  groups  ..  people  love  to  create  a  character  pinterest  ,  graphics  ,  aesthetics  galore  .  its  amazing  !  but  they  don't  actually  write  the  character  and  it  can  close  off  a  lot  of  opportunities  to  plot  because  people  don't  know  who  your  character  really  is  .  i  hate  to  say  it  ,  and  its  not  true  for  everyone  but  :  if  you're  relying  on  aesthetic  ,  then  you  could  be  lacking  in  the  actual  creation  and  writing  aspect  .  plus  ,  people  have  come  here  to  WRITE  with  YOU  .  not  just  see  fan  edits  of  your  character  .  write  .  write  badly  .  write  starters  ,  even  if  they  scare  you  .  write  with  people  you  don't  know  .  write  with  yourself  .  write  with  your  best  friend  .  but  you  have  to  actually  do  the  writing  part  .

How to write smut ?

(@urfriendlywriter | req by @rbsstuff @yourlocalmerchgirl anyone under the appropriate age, please proceed with caution :') hope this helps guys! )

writing smut depends on each person's writing style but i think there's something so gut-wrenchingly beautiful about smut when it's not very graphic and vivid. like., would this turn on a reader more?

"he kissed her, pulling her body closer to him."

or this?

"His lips felt so familiar it hurt her heart. His breathing had become more strained; his muscles tensed. She let herself sink into his embrace as his hands flattened against her spine. He drew her closer."

(Before proceeding further, these are all "in my opinion" what I think would make it better. Apply parts of the advice you like and neglect the aspects you do not agree with it. Once again I'm not saying you have to follow a certain type of style to write smut! Creative freedom exists for a reason!)

One may like either the top or the bottom one better, but it totally depends on your writing to make it work. Neither is bad, but the second example is more flattering, talking literally. (Here is me an year after writing this post, i think, either is amazing, depending on the context. the type of book you're writing, your writing style and preferences!)

express one's sensory feelings, and the readers will automatically know what's happening.

writing, "her walls clenched against him, her breath hitching with his every thrust" is better than writing, "she was about to cum".

(edit: once again, hi, it's me. Either is amazing depending on ur writing style. Everything at the end is about taste.)

here are some vocabulary you can introduce in your writing:

whimpered, whispered, breathed lightly, stuttered, groaned, grunted, yearned, whined, ached, clenched, coaxed, cried out, heaved, hissed

shivering, shuddering, curling up against one's body, squirming, squirting, touching, teasing, taunting, guiding, kneeling, begging, pining, pinching, grinding,

swallowing, panting, sucking in a sharp breath, thrusting, moving gently, gripped, biting, quivering,

nibbling, tugging, pressing, licking, flicking, sucking, panting, gritting, exhaling in short breaths,

wet kisses, brushing soft kisses across their body (yk where), licking, sucking, teasing, tracing, tickling, bucking hips, forcing one on their knees

holding hips, guiding the one on top, moving aimlessly, mindlessly, sounds they make turn insanely beautiful, sinful to listen to

some adverbs to use: desperately, hurriedly, knowingly, teasingly, tauntingly, aimlessly, shamelessly, breathlessly, passionately, delicately, hungrily

he sighed with pleasure

her skin flushed

he shuddered when her body moved against his

he planted kisses along her jawline

her lips turned red, messy, kissed and flushed.

his hands were on his hair, pulling him.

light touches traveled down his back

words were coiled at his throat, coming out as broken sobs, wanting more

he arched his back, his breath quivering

her legs parted, sinking into the other's body, encircling around their waist.

+ mention the position, how they're being moved around---are they face down, kneeling, or standing, or on top or on bottom--it's really helpful to give a clear picture.

+ use lustful talk, slow seduction, teasing touches, erratic breathing, give the readers all while also giving them nothing. make them yearn but DO NOT PROLONG IT.

sources to refer to for more:

gesture that gets me on my knees !!

(more to comeee, check out my hot or kisses prompts on my master list!)

The Words We Don’t Say: Dialogue Should Reveal, Not Just Inform.

Every line of dialogue is a tiny window into who your characters are, not just what they need to say. In real life, people rarely say exactly what they mean. They dodge, hint, exaggerate, fall silent, or say one thing when they feel another. Your characters should, too.

Good dialogue isn’t about giving information cleanly — it’s about revealing layers.

For example:

A character could say “I’m fine,” while tightening her grip on the table so hard her knuckles go white.

He could say “You’re impossible,” but his voice is soft, almost laughing — meaning you’re impossible and I love you for it.

She could say “I hate you,” in the rain, soaked through, desperate — meaning don’t leave.

The surface words and the real emotions don’t always match. That’s where the tension lives.

That’s what makes dialogue linger.

Three quick tricks to deepen your dialogue:

1. Layer emotion under the words.

Surface: What are they saying?

Subtext: What do they really mean?

Conflict: What’s holding them back from just saying it?

E.g. Two best friends sitting in a car after one of them has announced she’s moving across the country.

She fiddled with the edge of her sleeve, staring straight ahead.

“You’ll forget about me after a week,” she said, light, almost laughing.

Surface: She says he’ll forget about her.

You’ll forget about me after a week. (The outward words are casual, a joke.)

Subtext: She’s terrified of being left behind, feeling abandoned.

I’m scared you don’t care enough. I don’t want to be alone. Please tell me you’ll miss me.

Conflict: She doesn’t want to beg him to stay — she’s too proud, too afraid he doesn’t feel the same.

She wants to stay close, to ask for reassurance — but fear of rejection makes her hide her true feelings under humor.

2. Use silence and body language.

• A pause can scream louder than a speech.

• A glance away can whisper I’m afraid better than a thousand words.

E.g. After her apology, it’s his silence — heavy, raw, unspoken — that says everything words can’t.

After an argument, she finally admits, in a shaking voice, “I didn’t mean to hurt you.”

He says nothing.

Instead, he leans back against the wall, scrubbing a hand across his mouth, looking everywhere but at her.

The silence stretches between them — heavy, aching, almost unbearable.

When he finally does speak, his voice is hoarse: “I know.”

Breakdown:

Pause: His silence after her admission isn’t empty — it’s full. It screams his hurt, his struggle to forgive, his overwhelming emotions.

Body Language: Scrubbing his hand across his mouth, looking away — it all whispers I’m overwhelmed. I’m hurt. I don’t know how to say what I’m feeling.

Result: The tension between them becomes almost physical without a single extra word.

3. Let characters miscommunicate.

• Real conversations are messy.

• People interrupt, misunderstand, react to what they think they heard.

• That tension is pure narrative gold.

E.g. A confession turns into heartbreak when he misunderstands her words and walks away before she can explain.

She pulls him aside at the crowded party, her voice low and urgent.

“I need to tell you something — about us,” she says.

He stiffens immediately, crossing his arms. “Don’t bother. I get it. You regret everything.”

She blinks, hurt flashing across her face.

“No, that’s not what I meant—”

But he’s already turning away, anger burning in his chest.

She watches him go, the words she was really about to say — I love you — still caught in her throat.

Breakdown:

Miscommunication: He interrupts and jumps to conclusions, assuming the worst.

Realism: Conversations are messy; people hear what they’re most afraid of hearing.

Narrative Gold: Now, there’s heartbreak, regret, and a perfect setup for future emotional payoff when they finally untangle the truth.

Some brilliant examples to study:

‘Normal People’ by Sally Rooney — where miscommunication becomes the air between them.

‘Pride and Prejudice’ by Jane Austen — where formality and wit mask tenderness and fear.

‘Six of Crows’ by Leigh Bardugo — where silence says what pride refuses to.

Dialogue is not just a tool for moving the plot.

It’s a doorway into the heart of your story.

Open it carefully.

Writing Tips Master Post

Edit: Some posts may be deleted

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Character Voices

Creating Distinct Characters

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Building Tension

Writing Grumpy x Sunshine Tropes

Writing Sexuality & Gender

Writing Manipulative Characters

Writing Mature Young Characters

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Things to Consider Before Killing Characters

Foreshadowing

Narrative (+ how to write):

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (+ More)

Transitions

Pacing

Writing Prologues

Dialogue Tips

Writing War

Writing Cheating

Writing Miscommunication

Writing Unrequited Love

Writing a Slow Burn Btwn Introverts

Writing Smut

Writing Admiration Without Attraction

Writing Dual POVs

Worldbuilding:

Worldbuilding: Questions to Consider

Creating Laws/Rules in Fantasy Worlds

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Translation Software for Writing

Writer help:

Losing Passion/Burnout

Overcoming Writer's Block

Fantasy terms:

How To Name Fantasy Races (Step-by-Step)

Naming Elemental Races

Naming Fire-Related Races

How To Name Fantasy Places

Ask games:

Character Ask Game #1

Character Ask Game #2

Character Ask Game #3

Miscellaneous:

Writing Tips

Writing Fantasy

Miscommunication Prompts

Variety in Sentence Structure (avoiding repetition)