franchesfreya

[franchesfreya]

Facial Expressions & Emotional Micro-Reactions for Writers

(For those subtle moments when “he frowned” just isn’t enough.)

Tight-lipped — Mouth pressed closed, often from restraint, anxiety, or irritation. Jaw clenched — Tension from anger, fear, or self-control. Eyes narrowed — Suspicion, doubt, or intense focus. Brow furrowed — Confusion, concern, or frustration. Lip twitching — On the edge of a smile… or a snarl. Eye roll — Dismissiveness, annoyance, or teenage energy. Lip biting — Anxiety, hesitation, or suppressed emotion. Nose scrunch — Disgust, confusion, or mild sass. Blinking too fast — Shock, overwhelm, or trying not to cry. Staring blankly — Dissociation, distraction, or emotional overload. Smirking — Confidence, mischief, or sarcasm. Avoiding eye contact — Shame, discomfort, or guilt. Looking down quickly — Vulnerability, embarrassment, or attraction. Shoulders rising slightly — Insecurity, fear, or defensiveness. Forced smile — Pretending, hiding, or surviving the moment.

[franchesfreya]

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.

[franchesfreya]

do you know how to write a kiss for the first time? ((As in the writer has never written a kiss, not that the characters are having a first kiss

i'm not the best at writing kisses, but i'll try my best to give you some tips!

how to write kisses 💋

Know your characters. Are they soft? Sweet? Vindicative? Angry? Do they hesitate? Are they still unsure about their feelings? Take all of these into account when writing your kiss.

Know what they're feeling. Especially for first kisses, what is each character thinking individually? Is one person excited, elated, and so relieved that it's finally happening, and the other person is anxious because they initiated the kiss and don't know if it's okay?

What kind of kiss is it? Define what you're trying to show with the kiss. Is it their first one? Their last one? Is it a quick peck before leaving the house or a desperate one before going into battle? Make sure you know the mood, as it has a lot of influence in to what emotion each character puts into it.

What happens before and after? Similar to the previous bullet point, figure out what happens before (the buildup) and what happens after (the consequences). For example, if you're writing an existing relationship, maybe the before is just sitting in the kitchen and leaning in and the after is a smile and an "I love you." Maybe you're writing a first kiss after a scary moment and the before is one person rushing to the other, ranting about how they worried the other was dead, and the after is them exchanging a smile full of promise and anticipation.

Find good references. Read kisses. I'm serious. The more you read, the more you know. It can be as easy as searching through ao3 with the tags 'kiss' or 'first kiss'! Some authors will be happy to provide tips and tricks if you leave a kind note and some questions in the comments. I'd also be happy to make a list full of my favorite kiss references, if you wanted to shoot an ask and see that!

It's okay if you're not sure! You mentioned this is your first time writing kisses--and that is ALL good. They're really hard to write!! But remember that you can always get the basis down first--heck, if you're in a scene and decide to include a kiss, you can just make a note that there's a kiss there, and move on. Take all the time and as many drafts as you need!

Thank you for the ask!! I hope this was a little bit helpful! :]

[franchesfreya]

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.

[franchesfreya]

How to write emotions

How to write emotional scenes

How to show emotions Part I

How to show emotions Part II

How to show emotions Part III

How to show emotions Part IV

How to show emotions Part V

How to show emotions Part VI

How to show emotions Part VII

How to show emotions Part VIII

If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰

[franchesfreya]

Another Topics List

Word lists may be helpful for some people to overcome writer's block.

PERSONAL FEELINGS, OPINIONS, AND EXPERIENCES (Adjectives)

PLACES: Buildings

PLACES: Countryside

PLACES: Towns & City

WEATHER

Source: Cambridge English: Preliminary and Preliminary for Schools Vocabulary List (2012)

More: Word Lists ⚜ Topics Lists

[franchesfreya]

I am good. I am loved.

[franchesfreya]

Do you have any good words to use instead of exclaim?

Thank you, I love this blog so much!

So glad to hear this. Thank you! <3 I love making these writing references as well.

Exclaim - to cry out, speak, or utter in a strong or sudden burst of emotion

Assert - to state or declare positively and often forcefully or aggressively

Aver - to allege or assert in pleading

Babble - to talk enthusiastically or excessively

Bellow - to make the loud deep hollow sound

Bewail - to express deep sorrow for usually by wailing and lamentation

Blabber - to talk foolishly or excessively

Blat - to declare positively; to utter loudly or foolishly

Blunder - to utter stupidly, confusedly, or thoughtlessly

Blurt (out) - to utter abruptly and impulsively

Bray - to utter or play loudly or harshly

Burst out - to say (something) suddenly

Caterwaul - to make a harsh cry

Chirp - to utter (something) with a cheerful liveliness; to make sharply critical, complaining, or taunting remarks

Clamor - to utter or proclaim insistently and noisily

Crow - to utter a sound expressive of pleasure

Gab - to talk in a rapid or thoughtless manner

Gabble - to say with incoherent rapidity

Gush - to make an effusive display of affection or enthusiasm

Hoot - to shout or laugh usually derisively

Howl - to cry out loudly and without restraint under strong impulse (such as pain, grief, or amusement)

Inveigh - to protest or complain bitterly or vehemently

Orate - to speak in an elevated and often pompous manner

Perorate - to deliver a long or grandiloquent oration

Repine - to feel or express dejection or discontent

Roar - to utter or emit a full loud prolonged sound

Screech - a high shrill piercing cry usually expressing pain or terror

Shout - to utter a sudden loud cry

Shriek - to utter a sharp shrill sound

Shrill - to utter or emit an acute piercing sound

Snarl - to give vent to anger in surly language

Spout - to speak or utter readily, volubly, and at length

Squall - to utter in a strident voice

Squawk - to utter a harsh abrupt scream

Squeal - to cause to make a loud shrill noise

Vociferate - to utter or cry out loudly

Wail - to express a prolonged cry or sound expressing grief or pain; loud lamentation

Whine - to utter a high-pitched plaintive or distressed cry

Yammer - to utter repeated cries of distress or sorrow; to utter persistent complaints; to talk persistently or volubly and often loudly

Yawp - (or yaup) to make a raucous noise

Yowl - to utter a loud long cry of grief, pain, or distress

Hope this helps. If it inspires your writing in any way, please tag me, or leave a link in the replies. I would love to read your work!

More: Word Lists

[franchesfreya]

Pairing: Dark!Daenerys Targaryen x Fem!Reader

Since people seemed to enjoy this series so much, I decided to just make an all around master post for it! The works included in this Masterlist can be read as a series or stand-alone. (If you’d like to see anything specific just send in a request and I’ll try my best to create something for you! It can even be something before the ‘My Khaleesi’ events took place.)

Warning: This series contains G!P Daenerys.

Westeros Era

My Khaleesi — Daenerys claims more than the Iron Throne on the day she takes King’s Landing. [NSFW]

The Khaleesi’s Queen — Daenerys doesn’t like to be interrupted; not when she has everything she could ever want within her grasp. [NSFW]

A Gentle Flame — After months of trying, you are finally able to give something back to your Khaleesi that she never thought she’d have again — an heir to not only House Targaryen but the Iron Throne. You just aren’t sure how you’d like to reveal the good news to your beloved; taking solace in your dearest friend’s company as he tried to help you in revealing the truth. Of course, you should have known that your dragon’s possessive fire would never be quenched — not even for Grey Worm.

Twin Flames — With your due date drawing nearer, you begin to wonder what sort of life you’re going to be bringing into the world; dealing with your constantly fluctuating emotions is easier than facing the thoughts that grace your mind during the midnight hours. You should have known it’d only be a matter of time before your dragon became aware.

Essos Era

Embers of Desire [WIP] — The romance between yourself and your Khaleesi had blossomed into something beyond your wildest dreams; the sense of love and belonging growing with each moment that passed and, with it, the sense of growing desire. It’s to be expected that things finally grew to a breaking point when you’re both left alone in the Great Pyramid. [NSFW]

[franchesfreya]

What Ruins Romance Between Characters

Also keep in mind I’m not a professional writer. This is just a list of things I think absolutely destroys chemistry

Lack of Communication & Proximity: It should be a no-brainer that the two characters in love would also want to be together as much as possible. However, for some authors, what they don't do is just that. Automatically, these characters become more like strangers than people that are dating/married/pining for each other. If you want to build romance start with them actually talking and putting them in situations that demand them to work as partners.

No Show of Physical or Verbal Affection: Another no-brainer. How're you going to want your reader to love them if they don't show it? Even enemies-to-lovers will always figure out a way to make a scene more tense and filled with desire as long as your characters are giving us hints that they want something more than just what they currently are.

One-Sided Pining: Do not have one character doing all the romantic gestures! Readers will think the receiver of the affection is undeserving of their partner. I can assure you, nobody wants to see only one person doing all the heavy-lifting in the relationship. It's boring, sad, and will likely make readers want that character to leave the relationship asap.

Wildly Different Perspectives/Nothing in Common: You're bound for writing a breakup if this is the situation of your characters throughout the entirety of the story. Unless they slowly come to understand one another and meet in the middle, this romance will fail.

Arguing More Than Loving: If your characters are constantly arguing with no intentions to stop it, they are no longer compatible for each other. You are writing a toxic couple that hate one another and forcing them together is unlikely to make the average reader want to continue any further. I've seen some writers do an excellent job of a couple arguing but always trying to be better for their significant other. If you want them to argue solely because this is enemies-to-lovers, some time soon they're going to want to stop being an asshole to the person they like.

Better Romance With Other Characters: If Character A is supposed to be with Character B, but Character C is becoming the ideal, then I'm afraid to tell you the romance will not work between A and B. To avoid this, make them communicate less, have less in common, spend less time together and give more attention to Character B. Take away the roles that make Character C more compatible and give it to B. This doesn't mean you should completely change C, it just means you need to do everything you can to put the focus back on B, and if that's too much then consider ending whatever B and A have.

Too Slow/Fast to Fall in Love: Characters that take 20 seasons and 3 movies to confess is insanely slow. We are starving for the romance that was promised in the story, eventually readers will stop reading because that is not being satisfied. Pacing is incredibly important and you need to take into account the behaviours Character A will have with Character B. Also, don't make them instantly fall in love, I feel everyone in the writers and readers community know this very well. That's not how people work, you actually have to try to know each other first.

Only Together for Sexual Gratification: I don't even have to do a lot of speaking for this. Unless the characters become part of each other's lives outside of the bedroom then the chemistry does not exist.

Lack of Trust/Keeping Secrets: There has to be someone that knows their partner more than anyone else. Keeping secrets will show the readers that Character A does not love their partner enough to trust them with important information. It's fine if they're keeping a few secrets maybe-- major ones-- to protect Character B, but constantly lying and being unwilling to share is the beginning of what we call "falling out of love." Even worse is if Character A went ahead and shared their deepest insecurities with Character C.

Priority is Not The Significant Other/No Sacrifices: All relationships have done something that must be done in order to make the relationship work. If Character A will not give up something that they know upsets their partner/crush then they are not ready to be with someone. In order to love someone you must devote time and have interest in them. If your character chose some external desire over Character B, then this will not work. Their greatest desire should be Character B.

Unrealistic Standards & Expectations: We can't have characters choosing each other for surface-level wants to be satisfied. Readers will end up seeing characters changing their entire personality for their partner and their entire body to fit an image they were not made for. If your readers know Character B very well and it's that Character B would never turn away a friend for example, and suddenly they cut ties with all their friends because Character A doesn't like them, then I'm sorry but this is toxic. You can't change someone's characteristics in the middle of the story to help Character A.

No Conflict: What relationship is truly perfect? There will be arguments and setbacks that need to be explored. This is a fun way at having a deeper level of understanding on why your characters are having a conflict of interest. It's quite stale when everything is happy-go-lucky with no issues, you don't need to make them breakup or anything just a simple disagreement can show a ton for readers on the complexities of Character A and B as people who operate differently together.

Underdeveloped Character with No Goals: Some shows I've watched put time and effort in flushing out one character and completely forget about their life-long partner. Uhm, hello? What's going on?? If you write Character A with their entire lore and family tree or whatnot and then-- oh side note, they also really love Character B-- excuse me, who's Character B? Give us some sign that Character B is capable of thoughts and has dreams of their own. Do not make it revolve around Character A either.

Couple Do Not Interact with Anyone Aside From Each Other/No World Building: Similar to the point above, if these characters only know and see each other, you will lose readers. We are sick and tired of stories where the overarching story has been reduced to two people. If the story is about them, then introduce us to their lives outside of their partner. Can they operate as a functioning creature with thoughts without their partner? Do they have friends and family? Do they go to work and school? Are there fears they have? There's tons of material to choose from, pick anything.

Too Much Interference: Although it's fun to watch two characters do anything to get closer to each other it can become annoying when there's simply way too many characters and situations that separate them. We want all that hard work to be rewarded to Character A when they finally get what they want, Character B. Even a little bit of talking alone, being alone, finally away from the chaotic world is more than enough. Let your characters be alone.

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~~~ MASTERLIST

[franchesfreya]

When A Character Is incredibly clumsy they

"Oops! I didn't mean to knock that over."

"Why does this always happen to me?"

"I'm sorry, did I just trip over nothing?"

"Watch out! Oh no, too late..."

"I swear these stairs are out to get me."

"I can’t believe I just spilled my coffee again."

"How did I manage to lose my keys for the third time today?"

"Duck! Oh wait, never mind, I already hit it."

"Why do my shoes keep betraying me like this?"

"I'm starting to think I'm a walking disaster."

"I just wanted to grab a snack, not cause an avalanche."

"Well, that’s one way to make an entrance!"

[franchesfreya]

4 Strategies to Avoid Wordiness

Wordiness is when a sentence contains words that, if removed (or replaced with a shorter alternative), convey the same message and remain grammatically correct. It may happen when you use more words than necessary within a sentence, especially short, vague words that do not add much meaning.

Omit unnecessary words by using a "who does what" construction (Take out: it is, there is, there are, which, that, this, and self-references such as in my opinion, I think, it seems to me.)

Wordy: It was a night that was dark and freezing when the ship Titanic was struck by an iceberg.

Better: An iceberg struck the Titanic on a dark and freezing night.

Avoid too many abstract and difficult words

Wordy: “Conservatism is the paradigm of essences toward which the phenomenology of the world is in continuing approximation” (William Buckley, Jr.).

Better: Conservativism is the belief in absolute values whose expression change with the times.

Shorten sentences by rearranging ideas

Wordy: The president of the school board that presides over Dade County schools is accepting of the participation of students in alternative classes of their choice.

Better: The Dade County School Board president allows student to choose electives.

Omit repetitious words and ideas

Wordy: The cookies are baking in the oven. The cookies are chocolate chip.

Concise: The chocolate chip cookies are baking in the oven.

Notice how the wordy phrases below can be reduced to one or two words:

along the lines of = like

as a matter of fact = in fact

at all times = always

at the present time = now, currently

at this point in time = now, currently

because of the fact that = because

by means of = by

due to the fact that = because

for the purpose of = for

for the reason that = because

have the ability to = be able to

in the nature of = like

in order to = to

in spite of the fact that = although, though

in the event that = if

in the final analysis = finally

in the neighborhood of = about

until such time as = until

[franchesfreya]

turning positive traits negative

This is the go-to for development in my book, because if your character has a personality trait, congrats! You’re half way there!

—Confidence:

Can lead to selfishness, over abundance of pride, stubbornness and unwilling to admit wrong doings/beliefs/actions.

—Extroversion

Unable to understand proper boundaries that others have set, tries to bring people out of their comfort zone even when unnecessary, rude.

—Intelligence

One of those nerds that every class has that reminds the teacher of the homework, looks down on those less intelligent and doesn’t care of the social/economical/personal reasons as to why they don’t share the same intellect, prideful.

—Kindness

Nativity, allows the wrong people to walk free, toxic positivity, doesn’t want to understand how some people may just be evil, leading the team into multiple dangerous, avoidable situations.

—Romantic

‘Doesn’t take no for an answer’, makes people uncomfortable, overwhelms people with fantasies of romantic dinners/adventures despite it still being the first date, moves too fast for their love interest.

[franchesfreya]

Angst 101: Mastering the Art of Writing Drama Without Becoming Dramatic

Hello, my cute little Muses! Your favorite writer, J, here—ready to guide you through the tangled web of angst, drama, and emotional rollercoasters that make stories unforgettable. Today, we’re going to delve into the art of writing angst—those deep, raw emotions that make readers clutch their hearts and characters question everything. Why is it important, you ask? Because angst, when done right, can transform a simple story into a powerful, heart-wrenching experience that resonates with readers long after they’ve turned the last page.

Imagine capturing that perfect moment of sorrow, frustration, or longing that tugs at the heartstrings and refuses to let go. It's about creating characters who feel so real that their struggles become our own, their pain our shared catharsis. But how do we achieve that without veering into melodrama? How do we balance intense emotions without overloading the story with unnecessary drama? Fear not, because I've got the perfect recipe to help you master this delicate dance.

As someone who frequently writes about angst (and lives it every time my Wi-Fi drops), I know a thing or two about balancing emotional turmoil with narrative finesse. So, grab your tissues (for your characters, not for me—we all know I never cry… much) and let’s dive into the abyss of angst. Let’s be real, the only thing I do better than writing angst is finding new ways to procrastinate. But hey, if I can write angst while avoiding actual human interaction, so can you! Just remember, if at first you don’t succeed, blame the characters. It’s what I do.

Ready to make your readers cry while you secretly giggle with glee? Great, because here we go!

1. Plunge into Deep Emotions (But Don’t Drown)

Dive headfirst into your character’s emotions. Angst thrives on raw, intense feelings of sorrow, frustration, and longing. Show, don’t tell, how these emotions grip your character. Kind of like how my writing grips my sanity—oh wait, I don’t have any left.

Example:

Jason’s heart felt like a lead weight in his chest, dragging him deeper into despair with each passing moment. How could he face Sarah after what he’d done? The silence between them echoed louder than any words could.

2. Use Body Language to Speak Volumes

Let your character’s body language reveal their inner turmoil. Show how angst manifests physically—trembling hands, clenched fists, or pacing footsteps—adding depth to their emotional state. Meanwhile, my body language is mostly just me staring blankly at my screen, wondering where all my brilliant ideas went.

Example:

Sarah’s fingers traced the edge of her necklace, a nervous tic that betrayed her calm facade. Jason’s eyes followed the movement, longing to reach out yet paralyzed by the weight of his guilt.

3. Internal Dialogue: A Window to the Soul

Explore your character’s internal struggles through introspective monologues. Dive into their thoughts, doubts, and self-recriminations to uncover the root of their angst. Sort of like my internal dialogue at 3 AM, which is mostly about whether I should write more or finally get some sleep. (Spoiler: I never get the sleep.)

Example:

Alone in his room, Jason replayed their argument like a broken record. Had he gone too far this time? His reflection in the mirror offered no answers, only a haunting reminder of his mistakes.

4. Conflict is Your Best Friend (and Worst Enemy)

Inject conflict into every scene to heighten tension and deepen angst. Whether it’s a heated confrontation, a simmering resentment, or an unspoken betrayal, conflict drives the emotional narrative. Like the conflict I have every day deciding between coffee and tea. (Coffee always wins, but don’t tell tea.)

Example:

Sarah’s voice cracked as she confronted Jason, the words she had rehearsed now tangled in a web of hurt and anger. His silence spoke volumes, a barrier between them thicker than any words could breach.

5. Subtlety: The Art of Saying More with Less

Master the art of subtlety in your writing. Sometimes, less is more when conveying deep-seated emotions. Let silence, meaningful glances, or a single tear speak volumes. Subtlety—unlike my talent for making self-deprecating jokes. (Hey, we all have our strengths.)

Example:

Jason’s gaze met Sarah’s across the crowded room, a silent plea for forgiveness hidden behind a mask of indifference. She turned away, unable to bear the weight of his unspoken apology.

Writing angst is like walking a tightrope—balancing intensity with authenticity, drama with restraint. Embrace the emotional complexity of your characters, and watch as their angst resonates with readers on a profound level. Happy writing, and may your characters’ tears be as cathartic as they are captivating! Now, if you’ll excuse me, I have to go pretend I’m a productive writer instead of just staring at my screen.

Until next time,

Museadvicecorner (a.k.a. a person who has way too many notebooks)

Your feedback on my blog would mean the world to me! If my posts make you smile, why not fuel my caffeine addiction? Any support is super appreciated, even a comment too. Got any topics you want me to dive into? Just holler. Need some custom writing prompts? Hit me up anytime! :⁠-⁠) Also I'm thinking of starting a writing community do tell me what you think about it (⁠◠⁠‿⁠◕⁠)

[franchesfreya]

“Oh,” They giggled, cheeks pink.

“Oh!” They gasped, hands to their mouth in horror.

“Oh,” they whined, gripping their hair in frustration.

“Oh,” they breathed, head back and lashes fluttering.

“Oh,” they mumbled, shifting awkwardly.

“Oh,” they deadpanned, arms crossed.

“Oh?” they asked, brow arched and smile bitter.

“Oh,” they chided with a smirk.

“Oh?” they asked, head tilted curiously.

“Oh!” they hissed, scrambling away.

“Oh,” they mumbled, rubbing their neck.

“Oh,” they uttered, eyes wide in awe.

“Oh,” they muttered with an ill-impressed frown.

“Oh!” They cried, throwing their arms around them.

“Oh,” they goaded, smiling mischievously.

“Oh,” they taunted, skipping backwards.

“Oh,” they snarked, hands on their hips.

“Oh,” they breathed, putting it all together.

“Oh,” they said softly, hugging themselves.

“Oh,” they whispered, holding back tears.

“Oh!” they gasped, ducking out of the way.

“Oh,” they uttered, and smacked their forehead.

“Oh,” they laughed, brows wiggling.

“Oh,” they tittered, batting their lashes.

“Oh,” they hissed, gritting their teeth.

"Oh."

Tag your dialogue.

[franchesfreya]

When A Character Is stressed they…

can't focus on one task.

forget important details or events.

bite their nails or other nervous habits.

feel their heart race uncontrollably.

avoid social interactions.

have sudden outbursts of anger or frustration.

pace back and forth aimlessly.

overthink simple decisions.

get headaches or muscle tension frequently.

feel constantly overwhelmed.

isolate themselves and withdraw from loved ones.

can't sleep well and feel restless.

[franchesfreya]

When A Character Is in a state of panic they…

breathe rapidly and shallowly.

feel their heart pounding in their chest.

have trouble forming coherent thoughts.

sweat profusely even in cool environments.

tremble or shake uncontrollably.

feel a tightness in their chest or throat.

dart their eyes around frantically.

speak in a hurried and disjointed manner.

feel an overwhelming sense of dread.

have a strong urge to escape or hide.

experience a sense of detachment or unreality.

struggle to make rational decisions.