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Other Words for "Look" + With meanings | List for writers

Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.

Gaze - To look steadily and intently, especially in admiration or thought.

Glance - A brief or hurried look.

Peek - A quick and typically secretive look.

Peer - To look with difficulty or concentration.

Scan - To look over quickly but thoroughly.

Observe - To watch carefully and attentively.

Inspect - To look at closely in order to assess condition or quality.

Stare - To look fixedly or vacantly at someone or something.

Glimpse - To see or perceive briefly or partially.

Eye - To look or stare at intently.

Peruse - To read or examine something with great care.

Scrutinize - To examine or inspect closely and thoroughly.

Behold - To see or observe a thing or person, especially a remarkable one.

Witness - To see something happen, typically a significant event.

Spot - To see, notice, or recognize someone or something.

Contemplate - To look thoughtfully for a long time at.

Sight - To suddenly or unexpectedly see something or someone.

Ogle - To stare at in a lecherous manner.

Leer - To look or gaze in an unpleasant, malicious way.

Gawk - To stare openly and stupidly.

Gape - To stare with one's mouth open wide, in amazement.

Squint - To look with eyes partially closed.

Regard - To consider or think of in a specified way.

Admire - To regard with pleasure, wonder, and approval.

Skim - To look through quickly to gain superficial knowledge.

Reconnoiter - To make a military observation of a region.

Flick - To look or move the eyes quickly.

Rake - To look through something rapidly and unsystematically.

Glare - To look angrily or fiercely.

Peep - To look quickly and secretly through an opening.

Focus - To concentrate one's visual effort on.

Discover - To find or realize something not clear before.

Spot-check - To examine something briefly or at random.

Devour - To look over with eager enthusiasm.

Examine - To inspect in detail to determine condition.

Feast one's eyes - To look at something with great enjoyment.

Catch sight of - To suddenly or unexpectedly see.

Clap eyes on - To suddenly see someone or something.

Set eyes on - To look at, especially for the first time.

Take a dekko - Colloquial for taking a look.

Leer at - To look or gaze in a suggestive manner.

Rubberneck - To stare at something in a foolish way.

Make out - To manage to see or read with difficulty.

Lay eyes on - To see or look at.

Pore over - To look at or read something intently.

Ogle at - To look at in a lecherous or predatory way.

Pry - To look or inquire into something in a determined manner.

Dart - To look quickly or furtively.

Drink in - To look at with great enjoyment or fascination.

Bask in - To look at or enjoy something for a period of time.

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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.

---

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.

Hey, look at me. Look at me. I’ve said it once and I’ll say it again: you need to condition yourself to being okay with being inconvenienced by things. The first time I spoke about this I meant it in a mental health way- it is good to go out to the store and see people versus just ordering alone at home- but there is another more pressing societal issue you should be more concerned about as well.

Any service you rely on for convenience can be weaponized against you the moment you begin to rely on it. Streaming used to be a cheap and convenient way to see movies at home. It is now exorbitantly expensive, you need multiple accounts just to get what you want, and any of those movies can be taken from you at any time. And unless you have gotten used to going through the “inconvenience” of owning physical media, you can do nothing about it. Same goes for buying things on Amazon. Same goes for any service like DoorDash etc. These companies WANT you to be reliant on them for convenience so they can do whatever they want to you because, well, what else are you gonna do?

Same thing goes for the uptick in AI. If you train yourself to become reliant on AI for doing basic things, you will be taken advantage of. It is only a matter of a couple years before there are no free AI services. Not only that, but in the usage of AI’s case, it is robbing you of valuable skills that you need to curate that you will be helpless without the moment the AI companies drive in the knife the way they have done with streaming. Delivery. Cable. Internet. Etc. It will happen to AI too. And if you are not practicing skills such as. Writing. You are not only going to be at the mercy of AI companies in the digital world, but you are going to be extremely easy to take advantage of in real life too.

I am begging you to let go of learned helplessness. I am begging you to stop letting these companies TEACH you helplessness. Do something like learn to pirate. It is way more inconvenient at the beginning, but once you know how, it is one less way companies can take advantage of you. Garden. Go to the thrift store (older clothes hold up better anyway). These things take more time and effort, yes, but using time and effort are muscles you need to stretch to keep yourself from being flattened under the weight of our capitalist hellscape.

Inconvenience yourself. Please. Start with only the ways you are able. Do a little bit at a time. But do something.

so why should i care if people see my data

so glad you asked 😁 for one, any party holding information about the other shifts the power in their favor (rip rob kling i’m obsessed with him and think his work on the societal implications of technology should be mandatory reading for everyone <3) but most people don’t care about their data being stored because 1) “i’m not doing anything bad/illegal for me to be worried” 2) “idc if they know what i’m buying at target, what’s that going to tell them about me other than i like chocolate?” 3) “so what if they have my personal information? hows that going to impact me other than getting a few targeted ads?”

first off you need to understand that companies don’t just have access to what you do on their specific app. your data can be bought and sold to companies who aggregate all that information and put together a full picture of who you are. they get information about your spending habits, daily schedule, health, fitness, contact information, media preferences, etc etc so on and can sell that neat little package of information to anyone.

and let's not forget there is a historical precedent of certain demographics being targeted and criminalized! just look at the racial origins of loitering laws. who's to stop the government or other organizations from analyzing data and using it to silence and punish certain groups/people?

im too sleep deprived to be comprehensible rn but some articles

How Target Figured Out A Teen Girl Was Pregnant Before Her Father Did Facebook Releases New Research into How People Respond After a Break-Up Why we should collectively worry about Facebook and Google owning our data Facebook Manipulated 689,003 Users' Emotions For Science How Steve Bannon used Cambridge Analytica to further his alt-right vision for America

the problem with addiction is not that it's pleasurable. it's not "having too much fun" disease. it's not even a requirement for addiction that you have fun at any point in the process at all and to be honest it is incredibly common that no pleasure is gained from substance use. imagining that addiction is about pleasure does two things: 1) demonises feeling good (there is nothing wrong with wanting to be happy/comfortable/etc), and 2) frames addicts as people who Like Having Fun Too Much. it's simply not useful to frame things this way as well as just fundamentally not being true

This woman holds the highest recorded IQ ever: an astonishing 228. Far surpassing Einstein (160-190), Hawking (160), and Musk (155). Yet, despite her brilliance, she faced ridicule for her response to a seemingly simple problem.

But she saw what no one else could.

Here’s her story:

Marilyn Vos Savant was far from an ordinary child.

By the age of 10, she had:

• Memorized entire books

• Read all 24 volumes of the Encyclopedia Britannica

• Achieved the highest recorded IQ of 228

She seemed destined for a life of genius.

But reality took a different turn.

“No one paid much attention to me—mostly because I was a girl. And I accepted that,” Marilyn Vos Savant once said.

She attended a regular public school, left Washington University after two years to help run her parents' business, and seemed destined for an ordinary life.

But in 1985, everything changed.

The Guinness Book of World Records listed her as having the "Highest IQ" ever recorded: 228.

Suddenly, Marilyn was thrust into the spotlight:

• Featured on the covers of New York Magazine and Parade Magazine

• Guest on Late Night with David Letterman

But she couldn’t have anticipated what lay ahead.

The Rise and the Question

Marilyn joined Parade Magazine to write the iconic "Ask Marilyn" column—a dream for someone with a passion for writing.

Yet, this dream turned into a nightmare with a single question in September 1990.

The Monty Hall Problem

Named after Monty Hall, the host of Let’s Make a Deal, the question went like this:

You’re on a game show.

There are 3 doors.

• 1 door hides a car.

• The other 2 hide goats.

You choose a door. The host opens another door, revealing a goat.

Should you switch doors?

Marilyn’s answer: “Yes, you should switch.”

The backlash was overwhelming. She received over 10,000 letters, including nearly 1,000 from PhDs, insisting she was wrong:

• “You are the goat!”

• “You blew it, and you blew it big!”

• “Maybe women look at math problems differently than men.”

But was she wrong?

The Math Behind the Answer

Consider the two possible scenarios:

You pick the car (1/3 chance):

• If you switch, you lose.

You pick a goat (2/3 chance):

• Monty reveals the other goat.

• If you switch, you win.

Switching gives you a 2/3 chance of winning.

Eventually, her answer was proven correct.

Vindication

MIT ran computer simulations confirming her logic.

MythBusters tested it and reached the same conclusion.

Some academics even apologized.

So why did so many fail to see the truth?

The Reasons People Got It Wrong

• They "reset" the scenario instead of recognizing the shifting probabilities.

• The simplicity of 3 doors obscured the underlying math.

• Many assumed each remaining door had a 50% chance.

Marilyn’s View

Marilyn blamed the compulsory schooling system for discouraging independent thinking. She argued that it:

• Creates passive learners

• Stifles exploration

• Hinders critical thinking

A Blessing and a Burden

Marilyn admits that her intellect often feels isolating—there’s no one to turn to when she needs answers.

Still, she sees her intelligence as a gift, not a curse .

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HOW TO WRITE A CHARACTER WHO IS IN PAIN

first thing you might want to consider: is the pain mental or physical?

if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc

if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc

because your character will react differently to different types of pain

PHYSICAL PAIN

sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.

acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).

dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).

if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?

neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.

EMOTIONAL PAIN

grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)

heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.

betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.

there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.

hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.

fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.

and I think that’s it for now! feel free to add anything I may have forgotten to mention here!

Ways I Show a Character is Emotionally Burned Out (Before They Even Realize It Themselves)

I love writing characters who think they’re fine but are actually walking emotional house fires with bad coping mechanisms.

They stop doing the things they used to love and don’t even notice. Their guitar gathers dust. Their favorite podcast becomes background noise. Their hobbies feel like homework now.

They pick the path of least resistance every time, even when it hurts them. No, they don’t want to go to that thing. No, they don’t want to talk to that person. But whatever’s easier. That’s the motto now.

They’re tired but can’t sleep. Or they sleep but wake up more tired. Classic burnout move: lying in bed with their brain racing like a toddler on espresso.

They give other people emotional advice they refuse to take themselves. “You have to set boundaries!” they say—while ignoring 8 texts from someone they should’ve cut off three emotional breakdowns ago.

They cry at something stupidly small. Like spilling soup. Or a dog in a commercial. Or losing their pen. The soup is never just soup.

They say “I’m just tired” like it’s a personality trait now. And not like… emotionally drained to the bone but afraid to admit it out loud.

They ghost people they love, not out of malice, but because even replying feels like too much. Social battery? Absolutely obliterated. Texting back feels like filing taxes.

They stop reacting to big things. Catastrophes get a blank stare. Disasters feel like “just another Tuesday.” The well of feeling is running dry.

They avoid being alone with their own thoughts. Constant noise. TV always on. Music blasting. Because silence = reckoning, and reckoning is terrifying.

They start hoping something will force them to stop. An accident. A missed deadline. Someone else finally telling them, “You need a break.” Because asking for help? Unthinkable.

fifty shades of coffee