Sometimes You Need Dialogue Tags And Don't Want To Use The Same Four

How a Character’s Anger Can Show Up Quietly

Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.

╰ They go still. Not calm... still. Like something is pulling tight inside them.

╰ They smile, but their eyes? Cold. Flat. Done.

╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.

╰ They ask questions they already know the answers to, just to watch someone squirm.

╰ Their words are clipped. Polite. But razor-sharp.

╰ They laugh once. Without humor. You know the one.

╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.

10 Lies Your Character Believes About Themselves (And They’d Die Before Admitting It)

These aren't the fun, Disney Channel lies like “I'm just a regular girl” while literally being a secret pop star. These are the ugly ones. The ones that get in your character’s blood and start rewriting their whole life without them noticing.

» “If people really knew me, they'd leave.” Not "might." Would. No question. So they smile bigger. They edit harder. They keep conversations surface-level. All while carrying this bone-deep certainty that love is conditional... and they are dangerously close to failing the test.

» “I have to earn every good thing.” Rest? Happiness? A day without guilt? They treat those things like prizes at the end of a brutal obstacle course. No one told them they could just have good things. No strings. No blood price. (So they keep bleeding anyway.)

» “I'm too much.” Too loud. Too intense. Too sensitive. Too complicated. They know it. They've been told. So now they pull themselves in, hold their breath, bite back everything real until they barely take up space at all. (And ironically, they still think they’re being "too much.")

» “I'm not enough.” Neat little trick, right? They’re both "too much" and "not enough" at the same time. Magic. They're convinced everyone else got the secret manual for how to be lovable and they somehow missed it.

» “If I'm strong enough, nothing can hurt me.” They call it resilience. Other people call it stubbornness. Reality calls it self-destruction. They've mistaken numbness for healing and independence for invulnerability. But hurt still gets in. It just hits harder when it’s been bottled up for years.

» “I’m responsible for everyone's happiness.” Caretaker. Peacemaker. Therapist friend. Emotional sponge. They’ve appointed themselves as everyone's safety net, believing that if they don’t hold everything together, everything will fall apart. (Newsflash: it's not their circus, and it never was.)

» “I don't need anyone.” Need is a dirty word. It’s weak. It’s dangerous. So they white-knuckle their way through life, collecting scars and pretending it’s freedom. But late at night? In the dark? They’d sell their soul for someone to just... stay.

» “I'm the villain in someone else's story and they might be right.” They know they've hurt people. Made bad calls. Left damage. And no matter how much good they do now, some part of them whispers, You don’t get to come back from that.

» “My best days are behind me.” Whether they peaked in high school, lost their shot at something important, or just carry a chronic ache of nostalgia, they believe it’s too late. That nothing good can be built from where they are now. (Which, ironically, makes them waste even more time.)

» “This is as good as it gets.” They settle. For bad love. Boring jobs. Half-dead dreams. They tell themselves it's "realistic." "Mature." "Practical." But underneath? It's fear. It's heartbreak. It's the quiet belief that hope is something they can’t afford anymore.

10 Non-Lethal Injuries to Add Pain to Your Writing

New Part: 10 Lethal Injury Ideas

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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Ways I Show a Character Is Falling Apart While Pretending to Be a Perfectionist

Some characters don’t collapse in a blaze of glory. No, they disintegrate politely, with color-coded planners and a frozen smile that says, "Everything’s fine, Susan, stop asking."

They cling even harder to routines. Morning jog, 5 a.m. journaling, bullet-journaling their dog’s bowel movements. Because if they just keep checking boxes, they can pretend nothing’s crumbling underneath.

They hyperfixate on weird tiny details. The report can be on fire, but by god, they will die on the hill of choosing the right font. ("If I find the perfect serif, maybe my life will stop feeling like it's slipping through my fingers!")

They say "I'm just really busy!" like it’s a badge of honor, when it’s actually a giant red flag made out of calendar invites and suppressed emotions.

They can't finish anything anymore. They start 14 different projects, convinced each new thing will "finally get them back on track"…and end up ghosting every single one like a bad Tinder date.

Their compliments to others are laced with self-hate. "You’re so talented, I could never pull that off" they say, smiling while beating themselves bloody on the inside.

They apologize. For everything. Late by two minutes? "I’m so sorry." Sent an email? "Sorry if that’s annoying!" Existing? "Sorry for breathing the same air!"

They're "fine." Always "fine." It's said with the same energy as someone duct-taping a broken chair and inviting you to sit on it.

They self-medicate with "productive" coping. Organizing their spice rack at midnight? Totally normal. Redesigning their resume for no reason while crying into a box of crackers? Absolutely fine. Nothing to see here.

They get defensive about the dumbest things. “Of course I’m okay! Look at my to-do list!” (Sure, babe. Tell that to your bloodshot eyes and the way you just called your boss "Mom" on Zoom.)

Their version of self-care is making another list titled “How to Fix Myself” and then immediately feeling guilty for needing it.

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.

[ Theme #11: TTYL ]

Preview + Install (Theme Garden) Live Preview + Static Preview + Code (GitHub)

A responsive, all-in-one theme that includes the option to hide the about, navigation, muses, following, and recently liked sections!

Features:

Day and night toggle button that will stay in the selected mode until it is turned off. A dark mode option is available for those who prefer a dark color scheme on their blogs instead of the default light colors. The day and night mode button will also change according to the scheme you are using.

6 sections are included in the theme (blog posts, an about me, navigation links, muses, following, and recently liked posts).

Left or right sidebar. Both layouts are responsive on multiple screens including mobile.

You can also choose icons that you like for various elements of the theme (i.e. the menu links in the sidebar) from Tabler Icons. Please refer to the theme guide linked below for more information.

Like and reblog buttons, a search bar, an updates tab, and a custom "Not Found" page.

A drop-down menu with 3 custom links.

Supports NPF posts and page links.

Options:

Instead of giving you a selection of post sizes to choose from, you can enter your desired post size (i.e. 500px or 40vw). The same applies to the sidebar.

A custom title and/or description. To activate the custom title and description options, just type anything in the text boxes "Custom Title" and "Custom Description."

You have the option to choose whether your accent colors will be a gradient or one color.

There is a selection of border styles and header styles to choose from.

Different sidebar images are optional. However, the first sidebar image that uses your header image as the default will always be visible on your blog. There is no option to hide it like the other sidebar image.

Show or hide tags on the index page.

Notes:

The search bar will be hidden automatically if you have the option to hide your blog from search results enabled.

The following and recently liked sections will only work if you're using the theme on a primary blog. It will not work with side blogs. Please also make sure you have enabled the options to share your following and liked posts in your blog settings.

For an in-depth explanation and tutorial on how to customize the theme to your liking, please refer to the theme guide! Everything you need to know will be addressed there.

Credit:

NPF Audio Player by @glenthemes

Tabler Icons by Paweł Kuna

See full list of credits here.

Please make sure to read the theme guide before sending in any questions about customization, thank you!

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.

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! ♡

When your Character...

Gets into: A Fight ⚜ ...Another Fight ⚜ ...Yet Another Fight

Hates Someone ⚜ Kisses Someone ⚜ Falls in Love

Calls Someone they Love ⚜ Dies / Cheats Death ⚜ Drowns

is...

A Ballerina ⚜ A Child ⚜ Interacting with a Child ⚜ A Cheerleader

A Cowboy ⚜ A Genius ⚜ A Lawyer ⚜ A Pirate ⚜ A Spy

A Wheelchair User ⚜ A Zombie ⚜ Beautiful ⚜ Dangerous ⚜ Drunk

Funny ⚜ In a Coma ⚜ In a Secret Society ⚜ Injured ⚜ Shy

needs...

A Magical Item ⚜ An Aphrodisiac ⚜ A Fictional Poison

A Coping Strategy ⚜ A Drink ⚜ A Medicinal Herb ⚜ A Mentor

Money ⚜ A Persuasion Tactic ⚜ A Quirk ⚜ To be Killed Off

To Become Likable ⚜ To Clean a Wound ⚜ To Self-Reflect

To Find the Right Word, but Can't ⚜ To Say No ⚜ To Swear

loves...

Astronomy ⚜ Baking ⚜ Cooking ⚜ Cocktails ⚜ Food ⚜ Oils

Dancing ⚜ Fashion ⚜ Gems ⚜ Herbal Remedies ⚜ Honey

Mushrooms ⚜ Mythology ⚜ Numbers ⚜ Perfumes

Roses ⚜ Sweets ⚜ To Argue ⚜ To Insult ⚜ To Kiss

To Make False Claims ⚜ Wine ⚜ Wine-Tasting ⚜ Yoga

has/experiences...

Allergies ⚜ Amnesia ⚜ Bereavement ⚜ Bites & Stings

Bruises ⚜ Caffeine ⚜ CO Poisoning ⚜ Color Blindness

Facial Hair ⚜ Fainting ⚜ Fevers ⚜ Food Allergies

Food Poisoning ⚜ Fractures ⚜ Frostbite ⚜ Hypothermia

Injuries ⚜ Jet Lag ⚜ Kidnapping ⚜ Manipulation ⚜ Mutism

Pain ⚜ Paranoia ⚜ Poisoning ⚜ More Pain & Violence

Scars ⚜ Trauma ⚜ Viruses ⚜ Wounds

[these are just quick references. more research may be needed to write your story...]

Writing Resources PDFs

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.