Please Know That Australia Is On Fire. We’ve Lost 10 Times The Amount Of Land The Amazon Rainforest

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.

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

How to show emotions

Part VII

How to show pride

standing tall

expanded posture, opening of the torso

lifted chin, head held high

big and confident smile

looking around to see if people recognize and admire what they are proud of

How to show enthusiasm

big smile and laughter

wide radiant eyes

raised eyebrows

jumping up and down or bouncing

clapping hands

big hand gestures

loud and high pitched voice

speaking quickly

How to show anxiety

not holding/breaking eye contact

fidgeting

heavy breathing

twitching in their face

often a blank stare or looking away

rigid posture

sweaty palms

bouncing their knees

rubbing palms against each other or clothing

How to show playfulness

laughing

giggling

grinning

using a playful tone

making a silly face

touching the other person teasingly

e.g. tickling, nudging, bumping into them

How to show being offended

stiffening up

hard line around the lips

frozen stare

narrowing of the eyes

Part I + Part II + Part III + Part IV + Part V + Part VI

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her: she must be thinking about other women

what i’m thinking about: louis! what? WHAT? it’s morning. i lost time. things got a little heated- with a boy! things got heated with a boy. i was at home picking lint off the sofa- i said to join us! the night’s gone, the room’s soiled, and once again i’m sat here with mop and mindlessness to clean it up. so the room got dirty, so what? i’ll clean it up. no, i clean it up! you make the mess, and i clean it up! mark it on the calendar, align it with ursa major, louis’ tri-annual FUCK OFF AND FIND ME with apologies to follow. i’m sorry. to seek comfort in the arms of lowlifes, and unfortunates, and broken children? fine. oh fine? fine. it doesn’t sound like fine. BUT REVEALING OUR NATURE TO A REPORTER YOU MET IN A BAR TEN HOURS AGO? what if it was published? I WAS HAVING SOME FUN! like we don’t have enough to fear after paris- i was in the middle of ending things when YOU- no, you nearly passed out on the floor next to him, louis! out on your feet from the drugs you stuffed him with- oh this is boring! you’re boring! YOU ARE SO BORING! and here come the drugs. COLORLESS. up the fangs. FLAVORLESS. down the throat. DULL. into the heart and off the fingers, feet, and wallowing brain. DULL NIGHTS, DULL WEEKS, DULL MONTHS, DULL AS FUCK! suffocation by the world’s softest, beige-est pillow. the ten hours i spent with that boy were more exciting, more fascinating than DECADES with you. oh there it is, the half-blank, half-apocalyptic look. but what does it mean tonight, huh? does he wanna lick my boots, or chop my hands off? is it the gremlin or the good nurse tonight, huh? okay, okay, perhaps. but am i as boring as the blather committed onto the ferric tapes of your FASCINATING boy? oh, oh it’s so hard to be me! picking lint off the sofa? it’s so hard to kill humans! i can feel their feelings as i drain them! louis de pointe du lac, it’s so hard to be me! everyone i know wronged me! okay, okay, let’s wake the boy up and let’s try you. i’m the vampire armand and my daddy vampire groomed me into a little BITCH! my brother, he tossed himself off a roof- but the vampires have heard of my daddy- my sister, she buried me alive! so he made me pretend i didn’t have a dick for 240 years. my daughter was my sister was my throw pillow. well he wouldn’t look at me kindly, lestat, lestat, lestat, lestat, lestat, lestat, lestat, lestat, lestat, lestat, lestat- I TALKED SHIT ABOUT HIM THE WHOLE TIME-THE NAME! THE NAME, UNUTTERED IN OUR HOME FOR 23 YEARS SAID OVER AND OVER AGAIN UNTIL IT WAS POUNDING IN MY BRAIN LIKE A HAMMER! our problems aren’t about HIM! and you threw HER name around just for cover, but it always circled back to him. i loved her. BUT SHE DIDN’T LOVE YOU! not like he did, not like i have. i know. I KNOW!

Hes so soggyyyyy

Vesemir's first day ☀

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If venom 3 isn't the gayest movie ever put to screen, I'm burning my house down

Miau miau miau (translation: meow meow meow)

On being Good

I want to be Good, I yearn to be Good and yet I'm still me

twoheadedfawnn// Tongues & Teeth by The Crane Wives// susitse.art//Never Love an Anchor by The Crane Wives// Sweet Hibiscus Tea by Penelope Scott// ugly, bitter, and true by Suzanne Rivecca// Sept 15 1893 by The Mountain Goats// calling a wolf a wolf by Kaveh Akbar// House Song by Searows// We'll Never Have Sex by Leith Ross// ruinedangel777// I'm Your Man by Mitski// Into the Woods: Last Midnight sung by Meryl Streep //Captain Curly's character section on the TVtropes Mouthwashing page// flowrrs4u & Our Bodies & Other Fine Machines by Natalie Wee// suistse.art // A Burning Hill by Mitski// Wild Geese by Mary Oliver//

You want Venom 3 to be R rated for a Venom/Eddie sex scene

I also want Venom 3 to be R rated for a Venom/Eddie sex scene

We are the same.