Ways Your Characters Can Show Varying Emotions

ways your characters can show varying emotions

to show sadness (grief, sorrow):

- sharply sucking in a breath

- hiccuping from crying so hard

- uncontrollable sobbing

- slumped shoulders, head down

- weather can be used to show emotions — not just rain, but a shining sun and birds chirping contrasts well with a grieving character

- depending on the person, sadness can result in lashing out at others for no reason or shutting everyone out

to show anger (rage, frustration)

- red face, fists clenched

- narrow eyes

- sharp comebacks, gritting teeth

- the air around them is tense

- others may be silent, ignoring whoever they’re angry at

- inhales

- angry. tears.

- kicking, punching, slapping

to show shock (hurt, confusion)

- wide, confused eyes

- freezing in place

- collapsing to their knees

- silent and blank-faced

- ignoring everything else happening around them

to show happiness (joy, delight)

- bright eyes

- crinkles around their eyes from smiling so much

- laughter!

- optimism

- playful, laid back nature

- the weight being lifted off their shoulders

- relaxed sigh

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Your first draft is not terrible.

It is not any sort of insulting name you call it.

It is a baby.  A young, inexperienced baby that might throw up on your shirt and cause you to lose sleep at night but you love it all the same and will patiently feed it and tuck it into bed at night with a kiss no matter what happens.

You do not call a baby stupid or awful because they are new to the world and do not have the ability or knowledge to function on their own.  Instead, you nurture and teach them so they grow up smart and strong and capable.

Such it is with a first draft.  A first draft is not bad because it needs care and attention. Don’t insult it because it is newly written down with ideas that are not yet fully formed.  In fact, that is the reason why it is AMAZING.  It’s a DRAFT!  The FIRST one for the story!  LOOK at it!  It exists!  It is ALIVE!  And it is YOURS, this story you made.  

So be proud of your first draft baby and, most importantly, be proud of yourself. 

the doctor: so you’re an angel and a demon, like, properly? I’ve never met and angel and a demon. well, I’ve met the devil, after a fashion, but not a demon-demon, not the way you seem to be. that’s–fascinating.

aziraphale: yes well. you smashed my wine. and knocked over my books. 

crowley, giving him the eye from head to toe: you’re not a human are you. with the. hair. and the suit. 

the doctor: nah. i travel all through time and space.

aziraphale: that doesn’t explain anything really.

the doctor: you can come if you want. never had an angel and a demon on board. the miracle thing would probably be handy, actually. 

crowley: i don’t do miracles. i do temptations.

aziraphale: you do too do miracles.

crowley: only for you, angel, i’m not doing miracles for–whatever he is. him. not doing it. 

the doctor: are you two - ?

aziraphale: no

crowley: yes

aziraphale, startled: i mean – oh. i mean yes?

crowley, at exactly the same time: i mean no. 

the doctor, disappearing back into the tardis: great. well it’s all of time and space if you like. coming? 

aziraphale: oh we can’t. crowley we can’t. we exist outside of time and space, we can’t go traveling through it. 

crowley: who says we can’t? god? well, bugger to her, then. 

aziraphale: i thought you didn’t like him.

crowley: i don’t, but nobody else here is offering the whole time and space bit. 

aziraphale: well, who will guard humanity if we’re not here?

crowley: well i guess i got the impression that he did. so we’d still be doing it, just a bit, well. out of order.

aziraphale: …out of order.

crowley: and all over space. we could go all over. mars. the whole of the milky way, we could go star-sailing. see what else is out there. 

aziraphale: we could…see some of the systems you made, couldn’t we?

crowley: sure. yeah, we could, sure.

aziraphale, putting down his book and decidedly not reacting to the interior of the tardis: doctor? hello doctor fellow? we’d like to come.

the doctor, all knowing smiles: yeah? where to first, boys?

crowley, stepping into the tardis: well she’s no bentley, that’s for sure. 

aziraphale: alpha centauri.

crowley: al…alpha centauri?

aziraphale: alpha centauri. 

the doctor: there’s no making out on the bridge. there’s no–THERE’S NO MAKING OUT ON THE BRIDGE, oh, for time’s sake. 

if you want to ask a bisexual or asexual person about their sexual history to verify that they’re queer, but you don’t want them to take it the wrong way, try this useful communication technique:

give them twenty dollars and go away.

How I think I’m writing: Using eye contact, or lack thereof, to display emotions such as intimacy, shock, denial, or nervousness. 

How I’m actually writing: She looked at me, and I looked away. I tried to look back, but she was already looking at the sky. “Look,” she sighs, looking back at me for a split second. “I don’t know how to say this.” We looked at each other and time stopped, but then she looked her lookers at something else to look at, looking tired. 

💚💜💖