My 10 Holy Grail Pieces Of Writing Advice For Beginners

Where is my fantasy female protagonist who's a little too socially adept maybe I'm tired of the assumption being that all fantasy female protagonists don't really understand the nuances of conversation in politicised situations. I want a girl who knows exactly how to play people and is always a little privately concerned that she's evil for it.

Good morning, you have to be the thing that saves you

Writing Morally Gray Characters

Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?

Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.

Deceiving Appearances

As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.

By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.

Morally Gray vs. Villains

Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.

I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.

Recognition

Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.

Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.

Remorse

They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.

The point here is, she won't regret until she has already caused the wreckage.

Redemption

Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.

For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.

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The classic betrayer

This is where everyone subtly knows that this guy's going to turn the other way.

The betrayer puts on a show for our heroes - kind, compassionate and supporting at first.

it just so happens that the villainthinks the heros are the bad guys.

make them actually likable.emotionally ruin the hero upon betrayal.

The remorseful traitor

whether he had bad intentions from the start or was deceived by others, the betrayer regrets his choices.

when he realizes his mistakes, it's too late to stop the evil, which introduces guilt.

throw the guilt and shame on the character.

even the protagonist can be a traitor! will others forgive him?

The Double Agent

this type of traitor will keep the readers wondering whether this guy is truly on your side.

keep your readers guessing. is that an evil smirk or a genuine smile? does he really love drinking, or is he just trying to get the hero drugged?

Snape in Harry Potter is a great example.

The guy can be good or bad - just keep balancing the two

Unrealiable narrators

these characters are not entirely betrayers, but horribly misinformed. they can make others appear like traitors - when in truth, they just have it wrong.

pit your narrow-minded narrator against his allies.

these characters are great for misunderstanding plots.

have your narrator do irreversible damage to the hero. would they forgive him?

Tragic betrayers

these are characters, due to their past wounds and trauma, cannot help but betray the group.

they confess the hero's secrets under physical/mental torment and doesn't have the backbone to do otherwise.

these characters can either be pitiful or frustrating would the hero still fight for the betrayer?

Play around with pov

you can have the readers know about the upcomong betrayal by switching points of view, building up anticipation to the moment of realization.

on the flip side, you can change povs in a way that the reader doens't see what's happening at the hero's back.

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antigone was right

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.

Writing Snippet #3

Her brother remained dutiful. Oh so dutiful, never keeping his attention off of Donna, locked in a strange orbit as she did the same. Esther didn’t miss the quick slide of Donna’s hands underneath the expensive tablecloth, chocolate and sweets passed to him as their fingers brushed, a rehearsed game. She knew the way Milas’s apartment smelled like irises and malvas and how his sweatshirt hung from Donna’s shoulders as she sat on the blue divan that had Donna’s flair written all over it.

What's really in that witch's cauldron?

Folk names for herbs

Ass' Ear- Comfrey

Bat's Wing- Holly Leaves

Beard Of Monk- Chicory

Bear's Foot- Lady's Mantle

Bird's Eye- Germander or Speedwell

Blind Eyes- Poppy

Blood From a Head- Lupine

Blood Of Ares- Purslane

Blood Of Hestia- Chamomile

Bloody Fingers- Foxglove

Calf's Snout- Snapdragon

Cat's Foot- Ground Ivy

Crow's Foot- Wood Anemone

Devil's Ear- Jack In The Pulpit

Devil's Plaything- Yarrow

Dew Of the Sea- Rosemary

Dog's Mouth- Snapdragon

Dragon's Teeth- Vervain

Elf Leaf- Lavender

Englishman's Foot- Common Plantain

Fairy Eggs- Nutmeg

Flower Of Death- Vinca

Goose Tongue- Lemon Balm

Graveyard Dust- Mullein

Hawk's Heart- Wormwood

Juno's Tears- Vervain

Jupiter's Beard- Sempervivums

Lion's Foot- Lady's Mantle

Little Faces- Viola

Man's Bile- Turnip Sap

Mortification Root- Rose of Sharyn

Nose Of Turtle- Turtlehead, Chelone

Nosebleed- Yarrow

Our Lady's Tears- Lily Of The Valley

Old Man's Flannel- Mullein

Ram's Head- Valerian

Scale Of Dragon- Tarragon

Semen Of Ares- White Clover

Semen Of Hermes- Dill

Serpent's Tongue- Dog's Tooth Violet

Sparrow's Tongue- Knotweed

Tree Of Doom- Elder

Unicorn Root- Boneset

Weasel Snout- Yellow Archangel

Wool Of Bat- Moss

Body Parts as Plants:

Eye- Blossom or Seed

Heart- Bud or Seed

Beak, Bill or Nose- Seed, Bud or Bloom

Tongue or Teeth- Petal or Leaf

Head- Blossom

Tail- Stem

Hair- Dried Herbs or Stringy Parts Of Herbs

Privates, Genitals Or Semen- Seeds Or Sap

Blood- Sap

Guts- Roots or Stalk

Paw, Foot, Leg, Wing or Toe- Leaves

Animals as Plants:

Toad- Sage

Cat- Catmint

Dog- Grasses, Specifically Couchgrass

Frog- Cinquefoil

Eagle- Wild Garlic

Blue Jay- Laurel

Hawk- Hawkweed

Lamb-Wild Lettuce

Nightengale- Hops

Rat- Valerian

Weasel- Rue

Woodpecker- Peony

I borrowed this from:

A lot of fiction these days reads as if—as I saw Peter Raleigh put it the other day, and as I’ve discussed it before—the author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in “real time” without summary. First-person POV stories describe things the character can’t see, but a distant camera could. There’s an overemphasis on characters’ outfits and facial expressions, including my personal pet peeve: the “reaction shot round-up” in which we get a description of every character’s reaction to something as if a camera was cutting between sitcom actors.

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

fascinated by this article, "Turning Off the TV in Your Mind," about the influences of visual narratives on writing prose narratives. i def notice the two things i excerpted above in fanfic, which i guess makes even more sense as most of the fic i read is for tv and film. i will also be thinking about its discussion of time in prose - i think that's something i often struggle with and i will try to be more conscious of the differences between screen and page next time i'm writing.