writersreferencez
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Latest Posts by writersreferencez
Ways I Show a Character Is Petite Without Reducing Them to “Small and Fragile”
Petite doesn’t mean powerless. It means compact energy. It means you underestimated her and now you’re on the floor wondering how she flipped you.
They walk with that deliberate energy that says, “Don’t mistake size for softness.”
People overlook them in a crowd until they speak. Then suddenly, the whole room tilts in their direction.
They have to climb onto counters. They pretend to hate it. Secretly? They’ve mastered it like an art.
When someone makes a “you’re so tiny” comment, their smile is all teeth and danger.
They fit in weird places. Under tables. Through windows. Behind doors. Like their body was made for hiding orsneaking into trouble.
They’re always underestimated in physical fights, until someone ends up winded from a hit they didn’t see coming.
Their clothes are always too long. Sleeves past the fingertips. Jeans cuffed twice. But they wear it like style, not an inconvenience.
How to Make Fictional Settings Real (Even If You’re Faking the Whole Thing)
➤ Real Estate Listings (Yes, Seriously)
Looking up local listings in a place similar to your fictional town or city gives you surprising insight—average home styles, neighborhood layouts, what “affordable” means in that region, even local slang in the listings. + Great for, grounding your setting in subtle realism without hitting readers over the head with exposition.
➤ Google Street View (Time to Creep Around Like a Setting Spy)
Drop into a random street in a town that resembles your fictional setting. Walk around virtually. Notice what's boring.Trash cans, streetlights, sidewalk cracks, old ads. + Great for: figuring out what makes a setting feel “normal” instead of movie-set polished.
➤ Local Newspapers or Small Town Reddit Threads
Want voice? Culture? Weird local drama? This is where it lives. What’s in the classifieds? What’s pissing people off at town hall? + Great for: authentic small-town flavor, conflict inspiration, and the kind of gossip that fuels subplot gold.
➤ Fantasy Map Generator Sites (Even for Contemporary Settings!)
Not just for epic quests. Generating a map, even a basic one, can help you stop mentally teleporting your characters between places without any sense of space or distance.+ Great for: figuring out how long it takes to get from the protagonist’s house to that cursed gas station.
➤ Music from or Inspired by the Region/Culture
Even fictional cities deserve a soundtrack. Listen to regional or cultural playlists and let the vibe soak into your setting. What kind of music would be playing in your character’s world? + Great for: writing atmospherically and getting in the right emotional headspace.
➤ Online Menus from Local Diners, Restaurants, or Cafés
You want a setting that tastes real? Look at what people are actually eating. + Great for: writing scenes with meals that aren’t just “some soup” or “generic coffee.” (Also, bonus points for fictionalizing weird specials: “Tuesday Fish Waffle Night” is canon now.)
➤ Yelp Reviews (Especially the One-Star Ones)
Looking for a spark of chaos? One-star Yelp reviews will tell you what your characters complain about and where the best petty drama lives. + Great for: worldbuilding quirks, local tensions, and giving your town character.
➤ Real Estate “Before/After” Renovation Blogs
You’ll find the bones of houses, historical details, and how people preserve or erase the past. + Great for: backstory-laced settings, haunted houses, or any structure that’s more than just a place, it’s a story.
➤ Old Travel Books or Tourism Brochures
Especially the outdated ones. What used to be considered “the pride of the town”? What’s still standing? What was erased? + Great for: layering a setting with history, especially for second-generation characters or stories rooted in change.
sometimes you need dialogue tags and don't want to use the same four
Writing Description Notes:
Updated 9th September 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
Writing Fights That Are More Than Just Punches
REAL fights aren’t about the dishes in the sink. They’re about what the dishes represent. Neglect. Disrespect. One more little way you made me feel like I don’t matter.
When characters explode, make sure it’s a culmination, not a random Tuesday outburst. Sow those seeds way earlier. Every ignored text. Every moment one character flinched but didn’t speak. Let it simmer like a pot left on the stove too long — and then blow the lid off.
“You left your socks on the floor again!” Translation: You stopped caring about making me feel wanted.
╰ The “Fight Like Yourself” Principle Your shy, conflict-avoidant character isn’t going to suddenly monologue like a Shakespeare villain. They’re going to stutter. Misfire. Maybe say something stupid and instantly regret it. Your cocky, snarky character? They’ll joke until they’re cornered — and then bite. HARD.
Write fights in a way that honors your characters’ personalities even when they’re falling apart. Actually, especially when they’re falling apart.
The sarcastic one cracks a joke that lands wrong. And when the other person flinches, really flinches, the jokester looks like they just slapped themselves in the face.
╰ The "Weaponized Vulnerability" Strike Want a fight that stings? Let one character use something the other trusted them with, something private, something raw as a weapon. It’s dirty. It’s low. It feels like betrayal because it is.
“You know why nobody sticks around, right? Even your mom didn’t.” (The one thing they confessed one night, drunk and shaking. Now thrown back like a grenade.)
╰ The “No Winner, Only Wreckage” Outcome A good fight doesn’t end clean. Nobody walks away feeling like they "won." They walk away wrecked. Lonely. Furious. Guilty. Sometimes victorious in the worst possible way. If both characters don’t feel like they lost something by the end of it, time to dig deeper.
One character storms out thinking, I showed them. But on the way home, they realize their hands won’t stop shaking. And the empty seat beside them has never felt so heavy.
╰ The “Body Language Screams Louder Than Words” Method Fights aren’t just yelling. It’s clenching fists that don’t throw punches. It’s pacing like a caged animal. It’s backing into a corner you don’t even realize you’re in. Describe the tension bleeding out of their bodies.
The vein in his temple throbs. She’s standing stiff as a lamppost, arms folded so tight she might snap her own bones. The air between them buzzes with too many things left unsaid.
╰ Some Types of Fights to Play With...
The Blow-Up Over Nothing: Petty argument becomes nuclear meltdown because of all the built-up resentment.
The Long-Slow Death: Cold silences. Sharp comments. No shouting — just a slow suffocation.
The Misfire: They’re mad at someone else, but they unleash it on the wrong person. (And regret it instantly.)
The Final Straw: One wrong move, one broken promise too many, and snap — years of loyalty gone in a second.
A good fight scene shouldn’t just bruise skin. It should bruise souls.
Make your characters shatter themselves a little bit. Make the reader beg them to fix it and wonder if they ever truly can.
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.
This is the worst timeline. (x)
Showing 'Exhaustion' in Writing
Heavy eyelids, struggling to stay open.
Slumping shoulders, barely able to hold themselves up.
Dragging feet with each step.
Speaking in a slow, slurred manner.
Dark circles under the eyes.
Yawning frequently and deeply.
Head nodding forward, trying to stay awake.
Leaning heavily against walls or furniture.
Rubbing eyes and face with hands.
Deep, weary sighs escaping lips.
Wincing at bright lights or loud sounds.
Staring blankly ahead, unable to focus.
Weak, unsteady movements.
Muttering incoherently to themselves.
Falling asleep in unusual places.
Lack of response or delayed reactions.
Propping their head up with their hand.
Collapsing onto the nearest available surface.
Swaying slightly on their feet.
Barely lifting their head to speak or listen.
sometimes you need dialogue tags and don't want to use the same four
Writing Description Notes:
Updated 9th September 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
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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the look of love (for writers)
"it's all in the eyes i was once told"
catching the stare of someone across a crowded room
subtle furrowing of eyebrows beyond a blank facade
coldness easing into warmth
a fond mothering gaze
corner of the lip nudged upward
forced glower/glare as they break underneath
batting their lashes, playful
a boisterous laugh
intrigue piercing the stoic
proud smugness at the other's success
lingering glances
a childish joy bursting through
pupils dilate
eyelids shut in a look of peace, calm and trust
look of longing/betrayal
"there was once a time when they were mine"
terseness
features fold into a scowl
an urgent flinching back
coldness returns (as though the warmth had never come)
lips part then purse
invasion of shock
slow stare at the floor
the ripple effect of a swallow
frustrated breath/sigh
bitter laugh in reminiscence
dread tearing through the seams of their composure
look of hatred
"darkness"
mean smirk- teeth bared grimace- scowl
dismissive gaze
gaze of contempt/impatience
threat lowering the voice
sardonic goading grins verging on manic
rolling one's eyes
flicker of irritation in the eyes
stares stubbornly ahead despite distraction
gritted teeth, clenched jaw
fierce biting remarks
even measured complexions betraying no thought
strangling oneself back from violence
utter apathy
murderous silence hanging in the stare
snobbish laughter
smiling at another's downfall
Writing Tips
Punctuating Dialogue
✧
➸ “This is a sentence.”
➸ “This is a sentence with a dialogue tag at the end,” she said.
➸ “This,” he said, “is a sentence split by a dialogue tag.”
➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”
➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”
➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”
➸ “Use a comma when a dialogue tag follows a quote,” he said.
“Unless there is a question mark?” she asked.
“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”
➸ “Periods and commas should be inside closing quotations.”
➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”
However, if it’s not dialogue exclamation points can also be “outside”!
➸ “Does this apply to question marks too?” he asked.
If it’s not dialogue, can question marks be “outside”? (Yes, they can.)
➸ “This applies to dashes too. Inside quotations dashes typically express—“
“Interruption” — but there are situations dashes may be outside.
➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.
➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”
➸ “Use paragraph breaks to indicate a new speaker,” he said.
“The readers will know it’s someone else speaking.”
➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.
“This shows it’s the same character continuing to speak.”
Words instead of sighed and frowned?
Sighed - let out a deep audible breath or made a similar sound (such as weariness or relief)
Exhaled - breathed out
Heaved - uttered with obvious effort or with a deep breath
Huffed - emitted puffs (as of breath); usually with indignation or scorn
Insufflated - blew on, into, or in (something)
Puffed - blew in short gusts; exhaled forcibly
Snorted - forced air violently through the nose with a rough harsh sound (to express scorn, anger, indignation, or surprise)
Snuffled - breathed through an obstructed nose with a sniffing sound
Suspired - drew a long deep breath; sighed
Frowned - contracted the brow in displeasure or concentration
Glared - stared angrily or fiercely
Glouted - (archaic) frowned, scowled
Glowered - looked or stared with sullen annoyance or anger
Grimaced - distorted one's face in an expression usually of pain, disgust, or disapproval
Loured - looked sullen; frowned
Moue - a twisting of the facial features in disgust or disapproval
Pouted - showed displeasure by thrusting out the lips or wearing a sullen expression
Scoffed - expressed scorn, derision, or contempt
Scowled - contracted the brow in an expression of displeasure
Sulked - silently went about in a bad mood
Hope this helps. If it inspires your writing in any way, please tag me, or send me a link. I would love to read your work!
More: Word Lists ⚜ Writing Resources PDFs
Character Movements (Lips) Part 2
Smiling: The character's lips curl upwards at the corners, indicating happiness, friendliness, or amusement.
Frowning: The character's lips turn downwards, indicating sadness, displeasure, or concern.
Pouting: The character pushes their lower lip forward, often conveying disappointment, sulking, or a desire for attention.
Biting lip: The character lightly bites or presses their lips together, suggesting nervousness, anticipation, or hesitation.
Licking lips: The character's tongue briefly touches or moves across their lips, indicating desire, anticipation, or hunger.
Pressing lips together: The character's lips are firmly pressed together, indicating determination, frustration, or holding back emotions.
Parting lips: The character's lips slightly separate, often indicating surprise, shock, or readiness to speak.
Trembling lips: The character's lips quiver or shake, suggesting fear, anxiety, or suppressed emotions.
Whispering: The character's lips move closer together, and their voice becomes softer, indicating secrecy, confidentiality, or intimacy.
Mouthing words: The character moves their lips without making any sound, often used to convey silent communication or frustration.
Body type and shape
Lean Having a slender and toned body with minimal body fat.
Muscular Having well-developed muscles and a defined physique.
Slender Having a thin and graceful body shape.
Curvy Having an hourglass figure with well-defined curves, particularly in the hips and bust.
Athletic Having a fit and muscular body, often associated with participation in sports or physical activities.
Petite Being small and slender in stature, usually referring to height and overall body size.
Voluptuous Having full and shapely curves, often emphasizing a larger bust, hips, and thighs.
Stocky Having a compact and solid build with a sturdy appearance.
Thin Having a slim and slender body shape with little body fat or muscle definition.
Well-proportioned Having balanced and harmonious body proportions, with each body part in good proportion to the whole.
Toned Having firm muscles and a defined physique resulting from regular exercise and strength training.
Chubby Having a plump or rounded body shape, often with excess body fat.
Pear-shaped Having a body shape where the hips and thighs are wider than the shoulders and bust.
Hourglass figure Having a curvy body shape characterized by a well-defined waist and proportionate bust and hips.
Apple-shaped Having a body shape where weight is primarily carried around the midsection, resulting in a broader waistline.
Broad-shouldered Having wide and well-developed shoulders in comparison to the rest of the body.
Long-limbed Having long and slender limbs in proportion to the body.
Stout Having a sturdy and robust build, often characterized by a solid and thick physique.
Plump Having a pleasantly full and rounded body shape, often indicating a higher percentage of body fat.
Tall and slender Being tall in height and having a slim and elongated body shape.
sometimes you need dialogue tags and don't want to use the same four
random medical facts to use for your hospital whump writing. let your whumpee be a patient today!
if a patient has a seizure that lasts longer than 5 minutes, or if they suffer several seizures, they risk sustaining brain damage — because their brain can’t get oxygen during the seizure.
if a patient’s coughing up blood when they’re lying on their back, make sure to tune their face to the side so that they don’t choke on their own blood (the same applies to vomit too)
chest compression can and often leave patients with broken ribs. because you have to push down hard enough in order to help pump blood from the patient’s heart to their brain (the point is so that the brain gets blood, in order to prevent brain damage), and more often than not, you’ll end up breaking your patient’s ribs — that is normal and okay, because it’s better for your patient to have broken ribs than it is for them to lose their life.
after a course of electroconvulsive therapy, you’ll normally have to give your patient a dose of muscle relaxant, otherwise the aftermath of the shock may cause musculoskeletal complications.
you don't use a defibrillator to shock a patient if they already flat line, because their heart no longer has any electricity. quote "asystole isn't a shockable rhyme, and defibrillator may actually make it harder to restart the heart." (Cleveland Clinic)
the famous, classic "a character was knocked out and they stayed unconscious for hours before they woke up on their own with no lingering damage" trope is actually almost impossible if you want your work to be medically accurate (but if you don’t care about accuracy and are just here for the whump, that is totally fine!). if someone was knocked out and they stayed unconscious for more than several minutes, chances are that they suffer permanent brain damage, so they won't "wake up on their own in the next hour or two and be completely fine without intense medical attention".
great ways to get injured solo
Sometimes another person is involved, but the truly talented whumpee can do it all on their own:
Falling out of a tree. Leads to broken bones, bruises from hitting other branches, and concussions
Food poisoning. Enough said.
Ice over a lake cracking. Full submersion leads to hypothermia. Or just a foot in the water leads to a bad case of frostbite
Animal bites. The ragged edges are hard to sew up leading to scarring. They get infected so easily, leading to fever and a long slow recovery
Snake bites. The properties of snake venom vary depending on the snake’s usual prey and predators. This means they offer a wide variety of symptoms to whump your characters with
Spider bites. See above.
Car accident. So many options. Bruising, internal bleeding, broken bones, bloody nose, whiplash, trauma, etc.
Being thrown from a horse. The old-school version of a car accident
Tips for writing black characters
Day-to-day practical and minor stuff, specially regarding hair
If you have curly/afro hair then you are only going to need to wash it one or twice a week
But it can take a while. When I had long hair it used to take me 2h in the bathroom to properly wash it. That's why I only did it once a week. But it really will depend of the thickness and lenght of their hair.
It can be a little harder to find products for their hair, because straight/wavy hair products don't work on ours
If you wash curly hair many times a week it will eventually lose its nutrients, differently from straigh hair
If your character originally had curly hair but straightened it, it's probably going to look a little drier than naturally straight hair. it's a case-case scenario, though
If they have a skin care routine or want one they'll also need products made specifically for black skin
Your character is not immune to sunburns. It's harder to see if it gets red depending on how dark their skin is, but it's there. The more melanin they have, the more protected from the sun they are, but it's not gonna 100% prevent them from getting sunburnt.
Oh, and it can be pretty hard to dye it because first, if your hair is very dark, you have to decolor it, and depending on how black it is it can take a while and a few tries to get in a tone good for dying.
If they have long hair they're probably going to take a while combing it because you have to apply the hair cream lock by lock
They may have a haircare routine every month or so. Not everybody does it but if your character is disciplined and wants their hair to be extra healthy and neat they'll probably have one
If they care a lot about their appearence they'll probably have a lot of hair brushes of different types because depending on your brush you can comb it in a variety of ways, making your hair look fuller, making the curls look defined, etc.
if you're trying to get into the head of your story's antagonist, try writing an "Am I the Asshole" reddit post from their perspective, explaining their problems and their plans for solving them. Let the voice and logic come through.
A list of moral questions to developing a villainous character
Is mercy a sign of weakness in your eyes?
What is your primary motivation or value that drives your actions?
Are there any principles you refuse to compromise on, even in your pursuit of power?
Do you believe lying is justified if it serves your goals?
How do you manipulate others to achieve your ends?
Would you betray an ally to further your plans?
Do you believe in justice, or do you see it as a tool to manipulate others?
Would you sacrifice yourself for a cause or ambition?
Would you destroy something beautiful or innocent to achieve your goals?
If you had to choose between your ambition and the life of someone you care about, what would you do?
Do you feel any responsibility towards society, or do you act solely for your gain?
How do you justify your actions to yourself and others?
Can you forgive someone who has wronged you, or do you seek revenge?
How long do you hold grudges, and what actions might provoke them?
Do you respect any form of authority, or do you see yourself as the ultimate power?
These questions can help you delve into the psyche of your villain.
Tips for writing black characters
Day-to-day practical and minor stuff, specially regarding hair
If you have curly/afro hair then you are only going to need to wash it one or twice a week
But it can take a while. When I had long hair it used to take me 2h in the bathroom to properly wash it. That's why I only did it once a week. But it really will depend of the thickness and lenght of their hair.
It can be a little harder to find products for their hair, because straight/wavy hair products don't work on ours
If you wash curly hair many times a week it will eventually lose its nutrients, differently from straigh hair
If your character originally had curly hair but straightened it, it's probably going to look a little drier than naturally straight hair. it's a case-case scenario, though
If they have a skin care routine or want one they'll also need products made specifically for black skin
Your character is not immune to sunburns. It's harder to see if it gets red depending on how dark their skin is, but it's there. The more melanin they have, the more protected from the sun they are, but it's not gonna 100% prevent them from getting sunburnt.
Oh, and it can be pretty hard to dye it because first, if your hair is very dark, you have to decolor it, and depending on how black it is it can take a while and a few tries to get in a tone good for dying.
If they have long hair they're probably going to take a while combing it because you have to apply the hair cream lock by lock
They may have a haircare routine every month or so. Not everybody does it but if your character is disciplined and wants their hair to be extra healthy and neat they'll probably have one
If they care a lot about their appearence they'll probably have a lot of hair brushes of different types because depending on your brush you can comb it in a variety of ways, making your hair look fuller, making the curls look defined, etc.
Body language cues for a few emotions
Happiness:
Smiling genuinely, with crinkles around the eyes.
Open body posture, with relaxed arms and shoulders.
Leaning forward slightly towards the person or object of interest.
Making eye contact with a warm and engaged expression.
Anger:
Tightened jaw and clenched fists.
Furrowed brows and narrowed eyes.
Standing or sitting with a rigid and tense posture.
Pointing fingers or aggressive gestures.
Raised voice or speaking through gritted teeth.
Sadness:
Downcast eyes and a drooping posture.
Slumped shoulders and shallow breathing.
Avoiding eye contact and withdrawing from social interaction.
Sighing or a subdued tone of voice.
Tearfulness, with watery or red eyes.
Fear:
Widened eyes with dilated pupils.
Raised eyebrows and a tense facial expression.
Frozen or rigid body posture.
Backing away or seeking physical distance from the perceived threat.
Trembling or shaking, especially in the hands or legs.
Surprise:
Raised eyebrows and widened eyes.
Mouth slightly agape or forming an "O" shape.
Leaning forward or recoiling backward in response to the surprise.
Quick inhalation or gasp of breath.
Rapid blinking or blinking more than usual.
Disgust:
Curling the upper lip or wrinkling the nose.
Narrowing the eyes and raising the upper eyelids.
Turning the head away or physically distancing oneself from the source of disgust.
Covering the mouth or nose with the hand or a tissue.
Expressing verbal disgust through phrases like "ew" or "yuck."
These are just some examples, and individuals may display variations in their body language based on their personality, cultural background, and the specific context of the situation.
A list of phobias that your OC (original character) can have
Arachnophobia: Fear of spiders.
Acrophobia: Fear of heights.
Claustrophobia: Fear of confined or crowded spaces.
Ophidiophobia: Fear of snakes.
Cynophobia: Fear of dogs.
Trypophobia: Fear of clusters of small holes or bumps.
Social Anxiety Disorder (SAD): Fear of social situations and interactions.
Glossophobia: Fear of public speaking.
Hemophobia: Fear of blood.
Nyctophobia: Fear of darkness or night.
Thanatophobia: Fear of death or dying.
Mysophobia: Fear of germs or dirt.
Entomophobia: Fear of insects.
Aquaphobia: Fear of water.
Astraphobia: Fear of thunder and lightning.
Dentophobia: Fear of dentists or dental procedures.
Selenophobia: Fear of the moon.
Taphophobia: Fear of being buried alive or of cemeteries.
Xenophobia: Fear of strangers or foreigners.
Atychiphobia: Fear of failure or not being good enough.
Consider which phobia fits well with your OC's personality, background, and the story you want to tell. You can also explore how their phobia influences their behavior, relationships, and journey throughout the novel.
So you know when you're writing a scene where the hero is carrying an injured person and you realize you've never been in this situation and have no idea how accurate the method of transportation actually is?
Oh boy, do I have a valuable resource for you!
Here is a PDF of the best ways to carry people depending on the situation and how conscious the injured person needs to be for the carrying position.
Literally a life saver.
(No pun intended.)
So you know when you're writing a scene where the hero is carrying an injured person and you realize you've never been in this situation and have no idea how accurate the method of transportation actually is?
Oh boy, do I have a valuable resource for you!
Here is a PDF of the best ways to carry people depending on the situation and how conscious the injured person needs to be for the carrying position.
Literally a life saver.
(No pun intended.)
10 Non-Lethal Injuries to Add Pain to Your Writing
While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas:
Sprained Ankle
A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.
Rib Contusion
A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.
Concussion
This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.
Fractured Finger
A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.
Road Rash
The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.
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.
Deep Laceration
A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.
Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.
Pulled Muscle
This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.
Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.
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Internal conflict writing ideas
Not everything has to be fight scenes
—Losing something of emotional value and remembering its history and why it’s important to the character
—Reliving a traumatic event
—Running into an old friend who’s either completely changed since they’ve last seen each other or far too similar, leaving the character to wonder about how they’ve matured and grown compared to this other person
—Internally deciding if they should voice a fear or concern to the group, even if they might look silly or ridiculous doing so
—Friends vs family in terms of choosing who to follow and listen too
—Feeling unqualified to work on a project or be apart of the adventure
—Romantic feelings for someone they shouldn’t and dealing with how they should proceed internally. (THIS MEANS RIVALS OR FORBIDDEN ROMANCE. NOT ANYTHING ILLEGAL!!!)
—Thinking about mortality and death after being reminded of an late friend/family passing
—Being less talented at something years later when they used to be the best in that field
—Finding an old photo that carries much more emotional significance now than it did X years ago.
Emotionally reserved characters
Instead of openly sharing their emotions with others, they keep their feelings locked inside, letting their inner thoughts do all the talking. You get a glimpse into their mind, where a storm of conflicts, doubts, and desires brews quietly beneath a calm exterior. This internal monologue allows readers to understand what’s going on inside their head, even if they don’t show it on the outside. It’s like seeing the world through their eyes, where every little thing stirs up a wave of emotions that they never express out loud.
For these characters, actions speak louder than words, but even their actions are restrained. They communicate their emotions through the smallest of gestures—a slight tightening of the jaw when they’re angry or hurt, a brief flicker in their eyes when they’re surprised, or a controlled change in posture when something makes them uncomfortable. These tiny, almost imperceptible movements can say so much more than an outburst ever could, hinting at feelings they would never openly share. It’s about what they don’t do as much as what they do.
When they do speak, every word is carefully chosen. Emotionally reserved characters don’t ramble or spill their feelings in a flood of words. Instead, they speak in a measured and controlled manner, always keeping their emotions in check. Their sentences are concise, sometimes even vague or indirect, leaving others guessing about what they’re really thinking. It’s not that they don’t feel deeply, they just prefer to keep those feelings close to the chest, hidden behind a mask of calm and composure.
For these characters, what they do is often more telling than what they say. They might not say “I care about you” outright, but you’ll see it in the way they go out of their way to help, the quiet ways they show up for the people they love. Their actions reveal their emotions—whether it’s a protective gesture, a silent sacrifice, or a kind deed done without expectation of recognition. It’s these unspoken acts of kindness that show their true feelings, even if they never say them out loud.
They often have strong personal boundaries. They keep their private lives just that - private. They don’t open up easily and are cautious about who they let into their inner circle. They might deflect conversations away from themselves or avoid sharing personal details altogether. It’s not that they don’t want to connect, it’s just that they find it hard to lower their walls and let others in, fearing vulnerability or judgment.
When they do show vulnerability, it’s in small, controlled doses. These characters may have moments where they let their guard down, but only in private or with someone they deeply trust.
Sometimes, emotionally reserved characters express their feelings through objects that hold special significance to them. Maybe it’s a worn-out book they keep close, a piece of jewelry they never take off, or an old letter tucked away in a drawer. These symbolic objects are like anchors, holding memories and emotions they can’t express in words. They serve as tangible reminders of their inner world, representing feelings they keep buried deep inside.
When these characters communicate, there’s often more to their words than meets the eye. They speak in subtext, using irony, implication, or ambiguity to convey what they really mean without saying it outright. Their conversations are filled with hidden meanings and unspoken truths, creating layers of depth in their interactions with others. You have to read between the lines to understand what they’re really saying because what they leave unsaid is just as important as what they do say.
Despite their calm demeanor, there are certain things that can break through their emotional reserve. Specific triggers - like a painful memory, a deep-seated fear, or a personal loss - can elicit a strong emotional response, revealing the depth of their feelings. These moments of intensity are rare but powerful, showing that even the most reserved characters have a breaking point.
Over time, emotionally reserved characters can evolve, gradually revealing more about themselves as they grow and change. Maybe they start to trust more, opening up to those around them, or perhaps they experience something that challenges their emotional barriers, forcing them to confront their feelings head-on.