Body Language Cheat Sheet For Writers
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.
More Posts from Writersreferencez and Others
Here’s an invaluable writing resource for you.
Using the “rule of 3” works when it comes to showing your character’s emotional response. Source
Some words to use when writing things:
winking
clenching
pulsing
fluttering
contracting
twitching
sucking
quivering
pulsating
throbbing
beating
thumping
thudding
pounding
humming
palpitate
vibrate
grinding
crushing
hammering
lashing
knocking
driving
thrusting
pushing
force
injecting
filling
dilate
stretching
lingering
expanding
bouncing
reaming
elongate
enlarge
unfolding
yielding
sternly
firmly
tightly
harshly
thoroughly
consistently
precision
accuracy
carefully
demanding
strictly
restriction
meticulously
scrupulously
rigorously
rim
edge
lip
circle
band
encircling
enclosing
surrounding
piercing
curl
lock
twist
coil
spiral
whorl
dip
wet
soak
madly
wildly
noisily
rowdily
rambunctiously
decadent
degenerate
immoral
indulgent
accept
take
invite
nook
indentation
niche
depression
indent
depress
delay
tossing
writhing
flailing
squirming
rolling
wriggling
wiggling
thrashing
struggling
grappling
striving
straining
How to show emotions
Part VI
How to show insecurity
not holding/breaking eye contact
fidgeting
crossing their arms
trying to cover up their body
making themself seem smaller
playing with their hands
hiding their hands in their pockets
holding their head down
blushing
clearing their throat
biting their nails
biting their lips
nervous laughter
stuttering
How to show being offended
stiffening up
hard line around the lips
frozen stare
narrowing of the eyes
turning their head to the side
quickening heartbeat
turning red
making themself bigger, ready to fight
How to show compassion
gentle and soft smile
relaxed facial features
softening of their eyes
openly showing how they feel
leaning towards the other one
nodding along, not directly interjecting, but encouraging
deep breaths inbetween
gentle touches to comfort
How to show being pleased
big smile/grinning
laying head slightly to the side
moving one shoulder up
pursing their lips while smiling
very open body language
leaning back
Part I + Part II + Part III + Part IV + Part V
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Writing Trust Issues Tension
One keeps asking, “Are you sure?” and “What about…?” because they just can’t believe the other person.
Every little thing the other person says or does is met with suspicion, like, “Why are you really doing this?”
They start to open up, then stop, because they’re not sure if they can trust the other person yet.
One keeps asking for reassurance, like, “You wouldn’t lie to me, right?” but it’s clear they’re not convinced.
A tiny mistake or secret gets blown way out of proportion because the trust was already shaky.
self-editing for fiction writers
Showing vs Telling
Do you have any narrative summary, or are you bouncing from scene to scene without pausing for breath?
Characterization & Exposition
What information do your readers need in order to understand your story? At what point in the story do they need to know it?
How are you getting this info across to your readers? Is it all at once through a writer-to-reader lecture?
If exposition comes out through dialogue, is it through dialogue your characters would actually speak even if your readers didn’t have to know the information? In other words, does the dialogue exist only to put the information across?
Point of View
Look at your descriptions. Can you tell how your viewpoint character feels about what you’re describing?
Proportion
Look at descriptions. Are the details you give the ones your viewpoint character would notice?
Reread your first fifty pages, paying attention to what you spend your time on. Are the characters you develop most fully important to the ending? Do you use the locations you develop in detail later in the story? Do any of the characters play a surprising role in the ending? Could readers guess this from the amount of time you spend on them?
Dialogue
Can you get rid of some of your speaker attributions entirely? Try replacing some with beats.
How often have you paragrapher your dialogue?Try paragraphing a little more often.
See How it Sounds
Read your dialogue aloud. At some point, read aloud every word you write.
Be on the lookout for places where you are tempted to change the wording.
How well do your characters understand each other? Do they ever mislead on another? Any outright lies?
Interior Monologue
First, how much interior monologue do you have? If you seem to have a lot, check to see whether some is actually dialogue description in disguise. Are you using interior monologue to show things that should be told?
Do you have thinker attributions you should get rid of (by recasting into 3rd person, by setting the interior monologue off in its own paragraph or in italics, or by simply dropping the attribution)
Do your mechanics match your narrative distance?(Thinker attributions, italics, first person when your narrative is in third?)
Easy Beats
How many beats do you have? How often do you interrupt your dialogue?
What are your beats describing? Familiar every day actions, such as dialling a telephone or buying groceries? How often do you repeat a beat? Are your characters always looking out of windows or lighting cigarettes?
Do your beats help illuminate your characters? Are they individual or general actions anyone might do under just about any circumstances?
Do your beats fit the rhythm of your dialogue? Read it aloud and find out
Breaking up is easy to do
Look for white space. How much is there? Do you have paragraphs that go on as much as a page in length?
Do you have scenes with NO longer paragraphs? Remember what you’re after is the right balance.
Have your characters made little speeches to one another?
If you’re writing a novel, are all your scenes or chapters exactly the same length? -> brief scenes or chapters can give you more control over your story. They can add to your story’s tension. Longer chapters can give it a more leisurely feels. If scene or chapter length remains steady while the tension of the story varies considerably, your are passing up the chance to reinforce the tension.
Once is usually enough
Reread your manuscript, keeping in mind what you are trying to do with each paragraph–what character point you’re trying to establish, what sort of mood you’re trying to create, what background you’re trying to suggest. In how many different ways are you accomplishing each of these ends?
If more than one way, try reading the passage without the weakest approach and see if it itsn’t more effective.
How about on a chapter level? Do you have more than one chapter that accomplishes the same thing?
Is there a plot device or stylistic effect you are particularly pleased with? How often do you use it?
Keep on the lookout for unintentional word repeats. The more striking a word or phrase is, the more jarring it will be if repeated
Sophistication
How many -ing and as phrases do you write? The only ones that count are the ones that place a bit of action in a subordinate clause
How about -ly adverbs?
Do you have a lot of short sentences, both within your dialogue and within your description and narration? Try stringing some of them together with commas
Writing Autistic Characters: 50 posts from scriptautistic
Happy Nanowrimo! In honour of national novel writing month 2017 we have put together this list of 50 of the most useful questions and answers from our blog this year. We hope you find them useful - happy writing!
-the scriptautistic mods
Meta
Our masterpost list
Finding an autistic sensitivity reader or beta-reader for your story
How to research autism without falling for tropes
How do I incorporate a character being autistic into the plot without making it be about them being autistic?
Autism resources
Representation
What sorts of characters would you like to see more of?
What are common stereotypes about autistic characters?
Do you have any advice to keep from infantilizing an autistic character?
Is it ok to write ASD characters that are not loved and accepted straight away?
Would it be bad if I make a non-human character autistic?
How do y'all feel about a story about an autistic guy who grows to dislike his autism?
Comorbidities
Similarities and differences between OCD and ASD
What is the difference between down syndrome and autism?
Encouraging abused children to stim again (effects of child abuse)
Are autistic people more likely to get migraines?
Tips for writing an autistic character in a psychiatric hospital?
The effect of a mental breakdown on a character’s routines
Emotions and empathy
What does hyperempathy feel like?
What would a low-empathy character feel and do when trying to comfort someone?
Showing love without saying “I love you”
How would my character use facial expressions?
Sensory sensitivities
What does understimulation feel like?
How might a person with sensory sensitivities cope with living in an unpleasant environment?
Can a character’s autistic traits change as they get older?
How does it feel to have auditory processing disorder?
Why would an autistic person might hit their head when overloaded?
Stimming
How can I write stims?
What does stimming feel like?
What unobtrusive stims could my character use?
Would a character stim differently depending on their emotions?
What is the effect of repressing their stims?
Education
Does autism give disadvantages for certain subjects at school?
Is it realistic to send someone with autism to a special needs school?
Ableism
Well-intentioned but rude neurotypical people
Bad therapy
Might a police officer consider an autistic person a threat if they were having a meltdown?
Communication
What might cause my character to be temporarily nonverbal?
What are some causes for an autistic person being nonverbal?
Might my character use filler words like “um” and “er”?
Could an autistic character pick up on sarcasm?
Could you use signing to communicate with an autistic toddler?
Other
Is it possible for a character’s family/friends to not suspect that the character is autistic until adulthood?
A character’s friends asking them to stop infodumping
How to write a sex scene with an autistic character
What problems might my character have around keeping a pet?
What could be some difficulties with being an autistic cop?
Flying and being at the airport while autistic
Fun posts
Stim toys in a post-apocalyptic setting
Accommodations for an autistic crewmember on a space station
What might an autistic society look like?
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
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.
Some words to use when writing things:
winking
clenching
pulsing
fluttering
contracting
twitching
sucking
quivering
pulsating
throbbing
beating
thumping
thudding
pounding
humming
palpitate
vibrate
grinding
crushing
hammering
lashing
knocking
driving
thrusting
pushing
force
injecting
filling
dilate
stretching
lingering
expanding
bouncing
reaming
elongate
enlarge
unfolding
yielding
sternly
firmly
tightly
harshly
thoroughly
consistently
precision
accuracy
carefully
demanding
strictly
restriction
meticulously
scrupulously
rigorously
rim
edge
lip
circle
band
encircling
enclosing
surrounding
piercing
curl
lock
twist
coil
spiral
whorl
dip
wet
soak
madly
wildly
noisily
rowdily
rambunctiously
decadent
degenerate
immoral
indulgent
accept
take
invite
nook
indentation
niche
depression
indent
depress
delay
tossing
writhing
flailing
squirming
rolling
wriggling
wiggling
thrashing
struggling
grappling
striving
straining
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