20 Basic Plots

20 Basic Plots

1. QUEST - the plot involves the Protagonist’s search for a person, place or thing, tangible or intangible (but must be quantifiable, so think of this as a noun; i.e., immortality).

2. ADVENTURE - this plot involves the Protagonist going in search of their fortune, and since fortune is never found at home, the Protagonist goes to search for it somewhere over the rainbow.

3. PURSUIT - this plot literally involves hide-and-seek, one person chasing another.

4. RESCUE - this plot involves the Protagonist searching for someone or something, usually consisting of three main characters - the Protagonist, the Victim & the Antagonist.

5. ESCAPE - plot involves a Protagonist confined against their will who wants to escape (does not include some one trying to escape their personal demons).

6. REVENGE - retaliation by Protagonist or Antagonist against the other for real or imagined injury.

7. THE RIDDLE - plot involves the Protagonist’s search for clues to find the hidden meaning of something in question that is deliberately enigmatic or ambiguous.

8. RIVALRY - plot involves Protagonist competing for same object or goal as another person (their rival).

9. UNDERDOG - plot involves a Protagonist competing for an object or goal that is at a great disadvantage and is faced with overwhelming odds.

10. TEMPTATION - plot involves a Protagonist that for one reason or another is induced or persuaded to do something that is unwise, wrong or immoral.

11. METAMORPHOSIS - this plot involves the physical characteristics of the Protagonist actually changing from one form to another (reflecting their inner psychological identity).

12. TRANSFORMATION - plot involves the process of change in the Protagonist as they journey through a stage of life that moves them from one significant character state to another.

13. MATURATION - plot involves the Protagonist facing a problem that is part of growing up, and from dealing with it, emerging into a state of adulthood (going from innocence to experience).

14. LOVE - plot involves the Protagonist overcoming the obstacles to love that keeps them from consummating (engaging in) true love.

15. FORBIDDEN LOVE - plot involves Protagonist(s) overcoming obstacles created by social mores and taboos to consummate their relationship (and sometimes finding it at too high a price to live with).

16. SACRIFICE - plot involves the Protagonist taking action(s) that is motivated by a higher purpose (concept) such as love, honor, charity or for the sake of humanity.

17. DISCOVERY - plot that is the most character-centered of all, involves the Protagonist having to overcome an upheavel(s) in their life, and thereby discovering something important (and buried) within them a better understanding of life (i.e., better appreciation of their life, a clearer purpose in their life, etc.)

18. WRETCHED EXCESS - plot involves a Protagonist who, either by choice or by accident, pushes the limits of acceptable behavior to the extreme and is forced to deal with the consequences (generally deals with the psychological decline of the character).

19. ASCENSION - rags-to-riches plot deals with the rise (success) of Protagonist due to a dominating character trait that helps them to succeed.

20. DECISION - riches-to-rags plot deals with the fall (destruction) of Protagonist due to dominating character trait that eventually destroys their success.

by Pavel Simakov

How to Stand Out in the Slush Pile 101

Submission piles in the writing industry are lovingly nicknamed “slush piles,” because most of the stories are … more like slush than stories. Here are some tips to make sure your opening is more story and less slush.

1. Make sure you follow the proper manuscript formatting.

For some of the submission piles I’ve been involved with, a template of the proper format was available for download. Nonetheless, the majority of submissions didn’t follow it. Some people don’t indent paragraphs, don’t even have paragraphs, or use weird fonts etc. Don’t add pictures to your manuscript—keep it simple and professional. Save and send it in the proper electronic format, which is usually a Word document.

For some publications, if the story isn’t formatted correctly, it is immediately rejected.

If you cannot find the formatting guidelines, you are usually safe using standard manuscript format, which is the traditional way of formatting.

2. Unless you are an advanced writer, communicate character, setting, and conflict (or tension) quick.

Most submissions get rejected in a matter of paragraphs or pages. Often pieces that get rejected are missing either a sense of character, setting, or conflict (or tension) in the opening. Sure, some stories get away without having all these things, but they better be hecka good in other ways. When I say “opening”–for some, that’s the beginning paragraphs. For others, it’s by the end of the second page.

Setting in particular seems to get left out. I’ve read scenes where the setting is never even hinted at—I don’t know if the characters are in a hospital, a bar, or a circus.

When it comes to conflict, you don’t necessarily need a bomb going off. In fact, you may not need a ton of conflict on the page itself—but you need the promise of significant conflict to come, or in other words, you need tension.

Here are two posts that may help with that:

Tension vs. Conflict

Are Your Conflict Significant?

3. Use character names.

Too many new writers “hide” their characters’ names. A bunch of vague pronouns doesn’t help me figure out who is doing what. Ex: “He (who?) held his hand over his (his own mouth or someone else’s?) mouth. The chief (is this “he” or a different person?) couldn’t believe this was happening. He (the chief?) struggled. Then the man (the “he,” “chief,” or someone else?) forced the hand away from his (whose mouth?) mouth.”—who is doing what? How many people are there?

4. Don’t open your story with a dream—usually

Dreams can be such a letdown. One submission I read was really good, and I was going to set it aside, and I got to the end of the second page and the first two pages were a dream! Don’t even open your story with a short dream. It’s too cliché in the slush pile. If you NEED a dream in it, don’t do it in the first few pages.

Of course, like all of these, there are exceptions, but whenever you break a rule it’s got to be really good and you’ve got to have a good reason for breaking it.

5. Make sure your character is actually doing something on the first page.

Make sure there is some movement, and better yet, make sure there is tension. Too many submissions start with a character just sitting and thinking about something, usually something that happened in the past.

If possible, have at least two characters interacting in the first scene. It’s way more interesting than the 50 other stories that start with one character thinking.

6. Avoid flashbacks.

Number 5 is usually paired with something like this: “It all started a month ago,” or “Maybe I should start at the beginning,” or “This all started last week.“—and then the story goes back to the real “starting” or some sort of flashback. If that is where the story started, start there, and then you won’t have to tell me “how it started.” I’ll see it.

7. Don’t start with a character running away from something really vague.

There are way too many stories that start this way. It might sound like a cool opening, but after you’ve read 12 of them, you realize it’s not as cool as you first thought.

8. Don’t start with a long “telling” explanation of something, like “The city was surrounded by mountains, and we were told to never leave the city. The mountains have been around since the beginning of time when the gods got angry and decided to keep us locked up in one place. Back when my grandmother was alive, she used to tell me stories about people who left the city and never returned…(on for 1 ½ pages)” While this info might be interesting, there’s no immediacy. I’m just being told information. The slush piles can sometimes be loaded with this opening. At least give me like a page of something concrete and immediate before “explaining,” or “telling” me something.

9. Don’t start a story with your character waking up on an ordinary day doing ordinary stuff.

Again, that’s not really where the story starts. But too many stories start there. Give me some tension.

10. Avoid purple prose.

First off, if you can write detail that appeals to the senses, do it, because too many submissions are missing strong imagery in the opening. If you can write striking metaphors or similes, put one in the opening also. But don’t go overboard. I read one submission that took a paragraph to describe one action about ten different ways. Only about two things actually happened on the first page.

But don’t write purple prose. If you don’t know what purple prose is, it might be a great idea to spend some time researching it on Google this week. Basically, it’s overwrought, melodramatic description.

11. Don’t submit your writing exercises as a story.

I’ve seen a few submissions that I think were supposed to be practice exercises–like that exercise in creative writing classes where you have to try to describe something without saying what it is, or where you use only dialogue to tell a story. Those are great exercises, but (in most cases) they shouldn’t be sent in as professional pieces for publication.

12. Don’t include a bunch of pointless info about your character.

Reading two paragraphs about how your character’s choice of music is different than his mom’s isn’t going to help me get to know your character, and it’s not important unless your story involves music (in the case of this submission, it didn’t).

Some people try to “find” their character by giving them too many quirks and random details etc. But those are only the surface of the character—instead try to focus on how your character changes in your story, and what you need to establish first to show that change.

I have a bunch of posts on character that you can find in my Writing Tip Index.

13. Follow the submission guidelines.

In one submission pile I worked with, the publication was meant to showcase local writing, so if someone from Arkansas submitted, we couldn’t take the submission. In another, the guidelines stated that the story should be appropriate for a general audience. That means that the story that starts with people having an affair and uses the f-word about 12 times in the first page is probably out.

14. Use correct English and spelling.

And watch for anything that sounds awkward.

15. Unless otherwise stated or inappropriate, do state your writing credentials somewhere—a cover letter, query letter, or just the body of an email (depending on submission guidelines). Even minor writing credentials put a better flavor in the editor’s mouth because they imply you have some idea of what you are doing. At least that’s been my experience.

With that said though, ultimately the story is what needs to be amazing.

Above all, use correct formatting, start with immediacy (not explanation), and have the setting, character, and conflict or tension established in the opening. That will put in you in the top 20% of submissions, from my experience.

Also, keep in mind that great writers have broken a lot of these rules. In fact, great writers usually do break some rules. But this is “How to Stand Out in the Slush Pile 101,” and unless you are an advanced writer, you should put your best foot forward by following these guidelines

Good luck! And if you would like more advanced information on how to write the starting of your story so that it gets out of the slush pile, you can check out the book Hooked by Les Edgerton.

Deep worldbuilding questions

1: What are their “emergency foods”? Things they eat during famine or hardship, or when regular staples aren’t available. 

2: What is their view on illegitimate children, if they even have a concept of them? 

3: What are the stereotypes of different parts of the world? Or, more specifically, of a single country? Think the “North” vs the “South” divide in the USA. 

4: How much do the people of the world know of their own history? 

5: What is the formal process for declaring and ending war? 

6: What differences in ideology exist in kingdoms or republics? For example, does your republic have different political parties, or your kingdom have pretenders to the throne? 

7: What vital careers are looked down upon? Garbage men, tailors, fishermen? 

8: What words came from other countries in your setting? For example, did the word ‘king’ derive from a native word, or a foreign word? Why?

9: What is their medicine like? Is it actually effect, or based on superstition, or a mix of both? 

How to end your story

Any way you want. The end. 

Well, yeah, but in leu of some disappointing endings recently, let’s think a little bit more about it. Most simply:

Know your ending.

You have to know it. Figure it out when you’re plotting, or or in your first two drafts if your a pantser (like me). If you don’t know where your finish line is, you’re going to be running zigzags all over the place. Like I said: fine for a first draft, but once you’ve figured out ‘oh, this is how it ends’ then you can make a much straighter line from point A to point B. 

This goes double if you’re writing a series. Yes, that means if your a pantser, you might have to write out the entire trilogy in its first-draft-entirety before you go back and start editing. Yes, that means if you’re a plotter you should probably plot out the entire series, at least loosely. It will be worth it. I think we’ve all ready a trilogy that has a huge amount of build up, only to be disappointed in the last book because there was no payoff. 

Speaking of which:

Give the readers payoff. 

If you’ve done nothing but talk about the great and terrible war that the characters have been preparing four books for, you should probably give them that great and terrible war. 

OR, if you want to subvert your readers expectations, you need to give them something with equal pay off to it, that doesn’t come entirely out of left field. So if you want there to be a diplomatic solution to this war, it needs to be just as intense, breathtaking, and suspenseful as that battle would have been. Give us witty arguments, sudden allies being made, betrayals being felt, players rising and falling from power the same way they’d win or lose on the battlefield. 

But if you just stop the battle from happening and everyone goes home? Then all of the readers’ excitement was for nothing. Their heart was pounding, their fingers shaking, riding that roller coaster going up only to find there is no drop, you just have to get off and walk down the stairs back to ground level. Disappointing. 

Know who your characters become. 

Just as important as plot pay off is character pay off. Have we seen the character go through 6 books of slow redemption? Have you been framing them as more and more relatable, have the readers been cheering on their improvements? Then maybe don’t have that character revert back to their old ways in the last ten pages of your final book (at least, not without warning-we’ll talk about that next). 

Just like you should know the end of the plot from the beginning, you should know who the characters are going to end up as. Having big, important events shape your characters is good, but also important is the slow and steady changes that they’ll make over the course of the book or series. Not every character needs to change drastically from start to finish, but for those that do, have a clear image of who they become and how they’re going to get there. Again, the last ten pages isn’t the time for a sudden shift in character. Draw it out, don’t rush, and let them be true to who they are. 

Foreshadowing. 

Hints! Give the readers hints! Did they get the hints? Good! That means they like your book enough to read it carefully and analyze it! Don’t punish them for guessing right by changing your mind and dropping all the buildup to what you were foreshadowing. 

Throw in cryptic prophecies. Give the characters dreams of the past they don’t want to talk about but will definitely come up later. Talk about past events that will mirror future events. But when you do this, know that you’re making a commitment. Once the clue is in there, it’s in there, and observant readers are going to take note. Especially if there are multiple clues to an event/reveal/etc., there really isn’t going to be a clean way to back out of it. Which, again, is why it’s so important to know your ending. 

Tone. 

Last but not least: decide what the tone of your ending will be. What’s the taste you want to leave in your readers’ mouths? Hopeful? Tragic? Warm and fuzzy? Unless this is what you’re explicitly going for, bitter probably doesn’t belong on the list. But bitter is what a lot of endings end up being, if they’re not thought through from the beginning. 

Well, that’s all I’ve got. If anyone has any other ending advice, feel free to add it on. 

Hello! I often find myself in a situation where I have a group of characters, and I find myself finding multiple ways that they could end up in a relationship, so I don't really know who would be the right one for them. Do you have any advice how to spot the chemistry between characters, and decide on what's going to be the endgame?

Guide: Creating Romantic Chemistry 

I want to start by saying that chemistry can exist in any relationship–not just romantic ones. While this guide is specific to romantic chemistry, if you take out the romantic elements, some of these tips could apply to other relationships, too.

Specific to Anon’s question: You don’t spot romantic chemistry between your characters–you create it. As much as we like to think of our characters as real people independent of our imaginations, they’re not. Chemistry can’t exist between two characters unless you put in all the necessary ingredients.

What is romantic chemistry? Romantic chemistry is a balanced exchange of physical, intellectual, social, or emotional energy between two people–a constantly shifting dynamic (or “back and forth”) of opposition and harmony. It’s often said to begin as a “spark” or “click” between two people that indicates there’s something special between them.

How does romantic chemistry work? When two people first interact, or when they begin to interact in a new way or under new circumstances, they begin to respond to social cues and subliminal signals from one another. Social cues would be things like banter, flirting, discovering things in common, sharing, and learning each other’s relationship availability. Subliminal signals are more subtle, such as your brain responding to the other person’s open body language without you realizing it, or your brain detecting hints of sexual desire from the other person and reacting by ramping up your sex-related hormones. It can even be non-sexual but purely romantic, where your brain simply detects a million subtle signs of the other person’s interest without you being aware of it.

Romantic chemistry between two PEOPLE requires two or more of the following key ingredients:

1) Physical Attraction - your characters share a desire to touch and be touched. In romance, this is often but not always sexual.

2) Emotional Attraction - your characters share a desire to connect on a deeper level, to learn about each other’s feelings, beliefs, opinions, and experiences.

3) Intellectual Attraction - your characters share a desire to engage with each other’s interests, knowledge, and intellect.

5) Social Attraction - your characters share a desire to interact with each other on a social level, wanting to do social things together like hang out with friends, go to parties, go on dates, spend time with each other laughing and talking, and doing the kinds of social things that friends and romantic partners tend to do.

Romantic chemistry between two CHARACTERS requires the following key ingredients:

1) Fully realized characters - your characters must be fully developed people with all of the things required for good character development.

2) Something to forge the bond - your characters must discover at least one thing in common when they first begin interacting, which creates a desire between them to continue interacting.

3) Some type of attraction - your characters must feel a “spark” based on one of the types of attraction listed above as they continue to interact, which makes them want to get to know each other and leads to the formation of at least one other type of attraction. Consider which types of attraction would be most important to your characters based on who they are.

4) Dance of “opposition and harmony” - your characters should continue to interact as the story progresses, through banter, flirtation, touch, argument, and conflict, but always in a way that is balanced between them.

5) Conflict, tension, stakes and thematic alignment - every story needs a conflict, every character needs a conflict, and every relationship needs a conflict. Your characters’ personal conflicts and relationship conflicts should play off each other and be pertinent to the story’s theme, with each character representing different elements of the story’s theme and conflict. There should also be stakes to the relationship: what happens if the relationship works? What happens if it doesn’t? What do the characters have to lose by being together? What do they have to lose by not being together?

Romantic chemistry visuals can be achieved in a variety of ways. My post The Subtle Signs of Romantic Interest and Love will help with some of the internal and external cues. Remember, your characters are building a bond. They need to learn to trust one another. They need to learn to share and compromise, give and receive. My posts Guide: Characters Falling in Love and Transitioning Through Levels of Affection  offers additional help. 

Remember: two people with romantic chemistry are like a thunderstorm. Clouds form and crash together producing lightning, thunder, rain, and rainbows. Romance is BIG, messy, and beautiful. The most important thing you can do for your couple once their chemistry is established is to make sure there’s always forward motion. Your characters need to progress through the relationship and ultimately change one another in ways they’d never dreamed of.

Here are some posts that may help you craft your characters’ romantic chemistry. I’ll include the ones from above again, too:

The Subtle Signs of Romantic Interest and Love

Guide: Characters Falling in Love

Transitioning Through Levels of Affection

Enemies to Romance

Playful Dislike to Love

Friendship Turns to Romance

Ways for Love Interests to Meet

Creating Conflict in a Romantic Relationship

Even Romance Needs a Little Conflict

Writing a Kissing Scene

Good luck with your story!   

————————————————————————————————-

Have a question? My inbox is always open, but make sure to check my FAQ and post master lists first to see if I’ve already answered a similar question. :)

41 Emotions as Expressed through Body Language

Found Here x

41 Emotions as Expressed through Body Language unique  This list, while exhausting, is soooo not exhaustive; it barely scratches the surface. And each entry could easily become cliché (if it isn’t already). But, it should be enough to get you started. Want more? Start watching people (not in a creepy way), and take notes of what they seem to do when expressing different emotions. Your repertoire of expression will double in no time. PS—do not use these for actual, real-life body language reading; you will fail. These are strictly novelistic.

Awed  -Slack -jawed, raised eyebrows, staring  -Frozen, slack body language (Self? What self? There is only Zuul.)  -Take a step back and put a hand to his heart

Amused  -Smiling and throwing back her head laughing  -Slapping her thighs, stamping her feet, clapping her hands  -Shaking her head (That’s so wrong!)

Angry/Aggressive  -Sharp movements, like shaking a fist, pointing, slashing, or slamming a fist on a table  -Flushed face, patchy red blotches  -Tension in neck—chords standing out, veins throbbing—and jutting or tucked chin  -Arms akimbo, or clenching fists  -Entering someone else’s space and forcing them out  -Poofing up with a wide stance (I am big! Very big!), arms wide (Bring it!)  -Lowered eyebrows, squinting eyes  -Teeth bared, jaw clenched, snarling

Annoyed  -Pressing lips together into a thin line  -Narrowing eyes sometimes with slight head tilt (Why do you still exist?)  -Rolling eyes, often paired with a long-suffering sigh

Anxious  -Fidgeting, such as tearing grass into little pieces, playing with a ring, or chewing on a pencil  -Biting lower lip, swallowing unnecessarily  -Quickened breathing or holding breath  -Darting eyes  -Pallor, sweating, clammy palms  -Unusually high-pitched, “nervous” laughter  -Hunched shoulders  -Pacing

Attentive  -Slow head nodding with a furrowed brow  -Leaning forward, toward the speaker, and sitting up  -Taking notes  -Looking over the top of her glasses

Bored  -Resting his head on his palm, peeking out between the fingers, maybe even slipping so his head “accidentally” hits the table  -Tapping toes, twirling pencil, doodling, and otherwise fidgeting  -Staring out a window, or at anything remotely more interesting (Which is everything …)

Confident  -Arms clasped behind body  -Head lifted, chest out, standing tall  -Walking briskly and making firm, precise movements

Confused  -Tilting head with narrowed eyes  -A furrowed brow  -Shrugging

Contempt/Superiority  -Lifted chin (The better to look down the nose.)  -Pursed lips, sneering, slight frown  -Circling a shoulder, stretching her neck, turning away—anything to indicate she doesn’t see the person as a threat or worthy of her attention  -Grabbing her lapels, or tucking her thumbs in her waistcoat (See this clothing? It is much nicer than yours.)  -Dismissive hand-waving

Cynical/Sarcastic/Bitter  -Twisted lips or a half-smile  -Sneering, sometimes with shaking the head and other defensive body language  -Pressed lips with a slight frown  -Eye rolling

Defensive  -Crossed arms, legs, crossed anything, really (Well, maybe not fingers … or eyes …)  -Arms out, palms forward (Stop!)  -Placing anything (sword, shield, book, backpack) in front of her body

Disgusted  -Crinkling his nose  -Curling his lip and/or showing the tip of his tongue briefly  -Flinching back and interposing a shoulder or turning away  -Covering his nose, gagging, and squinting his eyes shut—hard—for a moment. (It assaults all the senses.)

Displeased  -A plastered-on fake smile (You suck; but I can’t tell you that. So here: a fake smile! Enjoy.)  -Pouting or frowning (I’ll cry if you don’t give me what I want—don’t test me, I will!)  -Crossed arms and other defensive/frustrated body language (I will not let that terrible idea influence me!)

Distressed  -Wide eyes and shallow, rapid breathing  -Beating the walls, or huddling into a corner  -Clasping hands over his head protectively  -Rocking himself  -Handwringing  -Running his hands through his hair

Earnest/Passionate  -Leaning forward, nodding, wide eyes with strong eye contact and raised eyebrows  -Hand on heart, or presented palms-up, or otherwise visible  -A double-handed handshake (I really want to make sure you understand me!)

Embarrassment  -Blushing  -Stammering  -Covering her face with her hands or bowing her head (I’m so embarrassed, I can’t look!)  -Difficulty maintaining eye contact, looking down and away

Excited/Anticipation  -Rubbing hands together (I can’t wait to get my hands on it!)  -Licking lips (It’s so close I can taste it!)  -A vigorous, pumping handshake (I can’t wait to get started!)  -Jumping up and down (Look at me being literal here! I am jumping for joy.)  -A wide and easy grin

Flirty  -Eye play, like winking, looking up through the lashes, over the shoulder glances, and eye catching   -Preening, like hair flipping or smooth, clothing straightening, spine straightening, etc.  -Striking a cowboy pose, with his thumbs gripping his belt tight

Frustrated  -Shaking his head (You are so wrong!)  -Massaging temples (My brain—it hurts.)  -Clasping his wrist in his opposite hand, behind his back (Bad arm! No biscuit.)  -Running his hands through his hair (All this frustration is making my hair mussy. I can feel it.)  -Grabbing onto something like armrests, or white-knuckled interdigitation (Restrain yourself!)

Happy  -Smiling and laughing  -Eyes and nose crinkling  -Swinging her arms, spinning loosely, dancing, jumping

Impatience  -Quick head nodding (Get on with it!)  -Toe/finger tapping (Hear this? These are seconds. Wasted. Listening to you.)  -Sighing, checking the clock/sundial/freckles (Time. It is moving so slowly.)

Jealous  -Tight lips, or a sour expression  -Narrow eyes locked on the perpetrator, to the point of a stare down  -Crossed arms, and additional frustrated, angry, possessive, or bitter body language

Lying  -Scratching their nose, ear, neck, miscellaneous part of face  -Sudden change in behavior or demeanor, including shifty eye contact, lots of long blinking, shrugging -Ill-timed smiles or laughter (This is how I normally smile, right? Right???)  -Additional anxiety body language  -Shaking head no while saying “yes” (I can’t believe I just lied.)  -Licking lips, covering mouth, touching mouth, etc.

Overwhelmed  -Both palms to forehead, fingers splayed (This gives me a headache.)  -Covering eyes with one hand (If I can’t see the world, it can’t see me …)  -Eyes wide and staring into space, hands gripping the table in front of her (… Woah.)

Playful/Friendly  -Winking  -Waggling eyebrows  -Tiny shoves or nudge

Pleasure  -Head tilted back, lips parted slightly, eyes wide or closed  -Slow, languorous movements, stretching (such as arching her neck or back)  -Slight flush, quickened breath and pulse

Possessive  -Handshake with arm clasp  -Putting hands on or around someone’s shoulders, neck, waist, back, or even just the wall near them  -Standing in someone’s personal space, body positioned toward that person  -Any one-sided act of intimacy, like running a knuckle down someone’s cheek  -Staring down any who get too close

Proud/Dominant  -Chin up, chest out, shoulders back  -A painfully hard handshake that not only squishes the bones, but also forces his hand on top  -Leaning back with his hands behind his head, and his feet up  -Strong, unblinking, focused eye contact

Reluctance/Resistance  -Arms crossed, sometimes with fists (Not happening.)  -Dragging feet (But I don’t wanna!)  -Pinching nose (You want me to do what now?)  -Clamping hands over ears (La la la la!)

Sad/Upset  -Droopy body (and anything held, like a sword), bowed in shoulders, wrapping arms around self  -Slow movements with hesitation  -Bottom lip jutting out and/or quivering  -Crying, sobbing, body shaking, sniffling, wet eyes

Secretive  -A tight-lipped smile (My lips are zipped.)  -Hiding her hands in her pockets (What has it got in its nasty little pocket?)  -Looking away

Scared  -Hunched shoulders, shrinking back from others (Don’t hurt me!)  -Wide eyes and lifted eyebrows (The better to see them coming.)  -Shaking, trembling, or freezing  -Rocking from side to side, sometimes holding self (It’ll all be okay, self, it’ll all be okay.)

Shame  -Slumped shoulders (Don’t look at me.)  -Trouble meeting your gaze, looking down and away  -Burying her face in her hands or bowing her head (I can’t face the world right now.)

Shocked  -Hands covering her mouth, or mouth hanging open, sometimes with a gasp (If I had words, I would be saying them.) -Freezing and staring with wide eyes and eyebrows raised (Diverting all resources toward staring.)  -Smacking a palm into his forehead (Clearly, my head isn’t working right, or I wouldn’t have seen that)

Shy  -Avoids eye contact, or has only fleeting eye contact (Eye contact means you might speak to me.)  -Keeps a fair distance from everyone, and will back away if someone steps closer (Space invaders!)  -Folded arms, head down, and other defensive body language (If I make myself small, they can’t see me.)

Smug  -Slight, close-lipped smile (occasionally one-sided) and sometimes one raised eyebrow (I know something you don’t know.)  -Chin slightly tucked, Mona Lisa smile, raised eyebrows (I know better.)  -Finger steepling (I am so smaaaht.)

Suspicious/Skeptical/Disbelief  -Narrowed eyes, sometimes with a sidelong glance or raised eyebrow (Perhaps if I look at it out of the corner of my eye, I will catch it unawares.)  -Rubbing his eyes (I can’t believe what I’m metaphorically or literally seeing!)  -Shaking his head (I—I don’t believe it.)  -Blowing out cheeks (Well , I don’t know …)

Tired  -Rubbing his eyes, eyes staring into space, raised eyebrows (Raising my eyebrows helps keep my eyes open.)  -Yawning and/or stretching (I am tired—see? Tired! Too tired to care!)  -Almost nodding off and jerking awake (Cannot. Stay. Awa—snnnnurzzzz.)  -Gritting teeth to stay awake (Cannot—yawn—dang it!)

Thoughtfulness/Thinking  -Steepling fingers (I will think better if I center myself and focus.)  -Pinching nose, sometimes with closed eyes (Focus, focus—I just need to focus.)  -Tugging on an ear (This will help me remember!)  -Stroking a real or imaginary beard (People with beards look smart.)  -Furrowed brow, narrowed eyes, sometimes tilted head and pressing lips together (I can’t see it—I will try harder!)  -Resting his chin on his hand (Thinking makes my head heavy.)

Triumphant  -Hands clenched and held above head while grimacing (She is invincible!)  -Head tilted back with a yell (She is fierce!)  -Arm pumping in the air, jumping (Woohoo!)