#writerscommunity

[maramontwrites]

It's such an amazing feeling when someone picks up on something in your writing that you 100% intended but didn't think people would notice. Like, YES!! My writing properly conveyed the thing it was supposed to!!! You are so awesome for noticing that!!! I am so awesome for writing that!!! I feel so good about my story now!!!!

[luna-azzurra]

How Body Language Changes When a Character Is Falling in Love (Whether They Admit It or Not)

When someone starts to fall, it shows up everywhere—not in the love confession (that’s the easy part), but in the twitch of a smile, in the silence that suddenly feels charged, in the way someone’s hand almost reaches out before pulling back.

╰ They start listening… with their whole damn body

Suddenly, they’re turned toward this person all the time. Full body facing them. Chin tilted slightly in. They lean forward during small talk like it’s breaking news. They notice things, like the rhythm of their voice, the way their lips move when they think too hard. They stop fiddling with their phone. Their knee bounces until the other person speaks, and then, stillness. They’re so present, it hurts.

╰ Their eye contact gets… weird

Sometimes they can’t stop looking. Sometimes they can’t look at all... There’s that moment—the pause, the flicker—where their eyes land on the other person’s mouth for just a second too long. Or they track their hands. Or notice how their hair falls into their face. It’s not about lust. It’s yearning, and it’s quiet and stupid and full of panic. And when the person catches them looking? Immediate eye dart. Back to their drink. To the sky. To anywhere else. Guilty. Flushed. Terrified.

╰ Their hands get stupid

They’re suddenly very aware of what their hands are doing. They fidget more. Or freeze. They keep their arms close to their body, like they’re worried they’ll accidentally reach out. If they touch the other person, even casually, it lingers. Not long enough to be noticed, but long enough to matter. Sometimes they adjust the other person’s collar or brush something off their sleeve and then have a tiny meltdown inside. That kind of touch feels too intimate. It’s not flirtation. It’s reverence.

╰ Their silence means more than their words

They trail off mid-sentence. Laugh at things they don’t usually laugh at. Start saying something and stop themselves. It’s because their brain is trying to do too many things at once—act normal, sound chill, don’t make it weird, try not to look like you’re in love. Meanwhile, the body is over here sweating, shifting, subtly turning toward the other person like a sunflower in denial.

╰ Their whole vibe gets softer

There’s a gentleness that creeps in. Even if they’re a sharp, snarky character, there’s a moment where they look at the person like they’re a planet they’ve just discovered. It’s brief. It’s devastating. It’s involuntary. And they might pretend it didn’t happen. But the reader saw it. The love interest definitely saw it. And suddenly, everything is different.

╰ Bonus: They mirror the other person without meaning to

Their arms cross when the other person’s do. Their head tilts. They laugh a beat after. This is subconscious connection at work. Their body wants to match this person. Sync with them. Be close without being obvious. And when they stop mirroring? That’s a sign too. Maybe something hurt. Maybe they’re trying to pull away. But the body always tells the truth, even when the character’s mouth is lying through its teeth.

[animentality]

[waywardsou2]

Some idiot: "Why are you reading your own fic, that's shallow and stupid"

All fanfic writers and writers everywhere: "Who the fuck do you think I wrote it for?!"

[writersbloxx]

Body Language

When someone is...

Sad

Face/Body:

Avoidant/reduced eye contact

Drooping eyelids

Downcast eyes

Frowning

Raised inner ends of eyebrows

Dropped or furrowed eyebrows

Quivering lip/biting lip

Wrinkled nose

Voice:

Soft pitch

Low lone

Pauses/hesitant speech

Quiet/breathy

Slow speech

Voice cracks/breaking voice

Gestures/Posture:

Slouching/lowered head

Rigid/tense posture

Half formed/slow movement

Fidgeting or clasped hands

Sniffing or heavy swallows

Self soothing gestures (running hands over the arms, hand over heart, holding face in palms, etc)

[charbroiledchicken]

if it's good enough for you, then it deserves to be made. don't let anyone else decide if your story is worth it or not.

[adhdwannabewriter]

Hey, stop scrolling and start writing. The book ain't gonna write itself.

[hayatheauthor]

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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[pukefactory]

•☽────✧˖°˖ SUMMER MEMORIES ˖°˖✧────☾•

(COMMISSION)

★ Summary: A Compilation of Headcanons Featuring Salesperson ENA X Reader Who Likes To Draw

★ Commissioner: @namosaga

★ Character(s): Salesperson ENA (ENA: Dream BBQ)

★ Genre: Headcanons, SFW

★ Warning(s): None - Completely Safe!

★ Image Credits: @JoelG

☆ You doodle when you’re bored. You doodle when you’re sad. You doodle when ENA’s talking about a “high-risk divestment strategy involving artificial soap and stolen cafeteria spoons.” And at some point, you started doodling her. It’s not just her whole self—though that too, many times. Sometimes it’s just the curve of her clawed hand reaching for a megaphone. Sometimes it’s her striped suspenders tangled around a heart. When ENA notices, her Salesperson side lights up like a SALE sign. “Ohhhh. What’s this? That triangle is my face! Do you find me marketable? Beautiful? Business-presentable?” You nod. The Meanie stares. “Gross. Now we’re a MUSE? Ew. I’ll be charging you royalties for my likeness.”

☆ She finds the sketchbook one day when you’re away—left on a folding chair by a half-eaten pastry and an unopened bottle of fizzy coffee. She’s not snooping, no, not at all. Salesperson insists she’s “simply browsing local investments!” The first ten pages are filled with swirled lines, nervous clutter, random eyes. But then she sees herself. Over and over. Her bent legs, her hair curling wrong in the wind, her Meanie side squished into a heart-shaped frame. She freezes. Then she flips the pages again. Faster. Slower. Backward. She eventually whispers: “I look like someone’s safe place in here.”

☆ After that, ENA starts posing. Not directly. That would be weird. And vulnerable. So instead, she just happens to linger in dramatic stances longer than necessary. Flinging her arms toward the sky like a puppet cut loose. Curling on a desk with a fake frown. Standing by the megaphone with her head tilted at exactly 37 degrees. “My right angle is better for composition, by the way,” she mutters, fake-casual. “Stop telling them that,” Meanie snaps. “You look like an expired crayon.”

☆ You doodle her in the margins of receipts. On the back of pamphlets. In the corner of forms she begged you to fill out (“Sign here to legally acknowledge the weight of our friendship.”) ENA doesn’t get mad. Not really. She just starts leaving blank forms around on purpose. Sticky notes with “FOR DRAWING PURPOSES” scribbled in all-caps. One day she hands you an envelope. It’s empty except for a note inside that says: “Put more of me inside, please. Thank you for your service to the brand.”

☆ She watches you draw one day. Quietly. Which is rare for her. You’re sitting against a wall by the noise garden, sketchbook on your knees, tongue poking out a little from concentration. ENA crouches beside you and doesn’t say anything for a whole minute. Then five. At the six-minute mark, she finally mumbles: “You only draw the good parts.” Her voice is all Meanie. Soft. Sincere. And she won’t look at you when she says it.

☆ She starts giving you feedback. “Bigger shoulders—make me more powerful! Like a tank top model with clawed ambition!” “YOU MISSED THE HAT. DRAW THE HAT OR SO HELP ME I’LL SUE.” “You made me look too nice in this one. I look like I forgive people.” Despite the commentary, she keeps them. Every doodle you give her—ripped-out pages, napkin sketches, whatever—gets tucked neatly into a growing portfolio. You caught her one night whispering to it like a bedtime story.

☆ You try to draw her when she’s upset. Not meltdown upset—just quiet. Twitchy. Detached. Her mouth stuck in a not-smile. You sketch the tension in her shoulders, the downward tilt of her hat. You don’t show her those pages. But she finds them. Of course she does. “Is this how I look when I’m breaking in half? …Accurate.” She tilts the sketch. “But you drew me like I’m still loved, even then.” She doesn’t tear it up. She folds it gently and puts it in her cap.

☆ One day, she draws you. Sort of. It’s lopsided. Chaotic. The head is too big and the hands are just rectangles. But she gives it to you proudly, declaring: “This is YOU. You’re holding a flower and a sword and a bottle of ink and also a stress ball shaped like my face.” “You look pathetic,” Meanie mutters. “Pathetically important.”

☆ She asks you what each doodle means. You explain: That one was when she made you laugh so hard you choked. That one was when she got you out of the shadow hallway. That one was after she called you “a limited-time offer worth investing in.” ENA stares at you for a long time. Then says, “So I’m…a record? A message? A monument?” You blink. “You’re a muse.” She grins. “I’m also a tax deduction.”

☆ Eventually, she lets you draw her on her. You get a marker. A red one. She offers her arm with theatrical flair. “Brand me. Immortalize my essence. Turn me into a living portfolio!” You doodle a little heart on her clawed hand. Just one. Meanie stares at it, blinking fast. “…Dumb,” she mumbles, voice like cracked glass. Then quietly adds: “…Draw another one.”

[luna-azzurra]

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.

[luna-azzurra]

Ways to show a Character is Hiding a Secret They’re Desperate to Protect

Secrets are juicy. But the best ones aren’t just plot bombs—they’re personal, shameful, dangerous because they mean something...

They flinch when a specific topic comes up. Just a little. Not enough for anyone to call it out, but enough to tell you they’re holding something back.

They avoid eye contact when someone asks a question they almost can’t dodge.

They rehearse conversations in their head, just in case “it” comes up. Always planning a version of the truth that’ll hold water without leaking too much.

They hate silence, not because they’re bored, but because it gives people time to think.

They keep a part of their past oddly vague. “Oh yeah, I lived in Boston for a bit,” they say, casually skipping over the why like it’s not loaded with dynamite.

They’re overly controlling of one specific detail. Always driving. Always cleaning. Always checking someone’s phone is face-down. Not because they’re picky—because if that one thread unravels, it all falls apart.

They sometimes seem exhausted by the lie they’re living. The weight of holding it together shows in subtle ways: headaches, bad sleep, irritability. Their body is cracking before the truth ever does.

[luna-azzurra]

We write because the night sky is too quiet for all the things we want to say. So we spill galaxies onto pages and call it storytelling.

[theaftersundown]

the holy grail types of fanfic

[juliarwilson1]

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some days you cannot help but pity some people

[lannegarrett]

"I know adverbs are controversial, but "said softly" means something different than 'whispered' and this is the hill I will die on."