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im doing this for the funnies and to see if im actually good at Making Stuff Up

And then one day you die. It's tragic, but at least you don't leave behind a wife or children. At the memorial, how many people there are just a little bit relieved that it's you and not him?

You come back to life in a new world, and make a new start. There's nobody there to overshadow you. You gain confidence, and power, and a big circle of friends. Every time you rank up in power you get handsomer. Every time you rank up in power you look more like your brother, until your face is more his than yours.

Then you come home. The world turns upside down with the revelation of monsters and magic, and now he's the one running to catch up. He gets a job with the magical society you introduced him to. He's helpful and well-liked, but in these circles that only makes him average. His coworkers know him as an extension of you. "You're Jason's brother," they tell him when they meet him. They expect him to have your audacity, your proprensity for miracles.

And then comes the day that you step out of a portal and find him dead.

His funeral is widely attended. You come in secret, because your presence could upset the whole event. His death is tragic, but not world-shaking: in that crowd, how many people there are just a little bit relieved that it's him and not you?

enough, a friend tells you, you’ll

look just like his twin.

These are the things your character claims are just “how they are” but really, they’re bleeding all over everyone and calling it a vibe.

╰ They say they're "independent." Translation: They don’t trust anyone to stay. They learned early that needing people = disappointment. So now they call it “being self-sufficient” like it’s some shiny badge of honor. (Mostly to cover up how lonely they are.)

╰ They say they're "laid-back." Translation: They stopped believing their wants mattered. They'll eat anywhere. Do anything. Agree with everyone. Not because they're chill, but because the fight got beaten out of them a long time ago.

╰ They say they're "a perfectionist." Translation: They believe mistakes make them unlovable. Every typo. Every bad hair day. Every misstep feels like proof that they’re worthless. So they polish and polish and polish... until there’s nothing real left.

╰ They say they're "private." Translation: They’re terrified of being judged—or worse, pitied. Walls on walls on walls. They joke about being “mysterious” while desperately hoping no one gets close enough to see the mess behind the curtain.

╰ They say they're "ambitious." Translation: They think achieving enough will finally make the emptiness go away. If they can just get the promotion, the award, the validation—then maybe they’ll finally outrun the feeling that they’re fundamentally broken. (It never works.)

╰ They say they're "good at moving on." Translation: They’re world-class at repression. They’ll cut people out. Bury heartbreak. Pretend it never happened. And then wonder why they wake up at 3 a.m. feeling like they're suffocating.

╰ They say they're "logical." Translation: They’re terrified of their own feelings. Emotions? Messy. Dangerous. Uncontrollable. So they intellectualize everything to avoid feeling anything real. They call it rationality. (It's fear.)

╰ They say they're "loyal to a fault." Translation: They mistake abandonment for loyalty. They stay too long. Forgive too much. Invest in people who treat them like an afterthought, because they think walking away makes them "just as bad."

Years 1-50: Obtain immortality in whatever way most enjoyable

Years 50-182: chill. Have a little treat.

Years 182-183: discover the end of the world prophecy, panic briefly but with much theatrics. Burn my wizard’s tower in lament.

Years 183-184: restore my wizard's tower. Apologize to all neighbors for the inconvenience.

Years 184-195: contact every entity of knowledge and power in search of remedies for the end of the world.

Years 195-200: in light of the end of the world seeming inevitable sit in my new tower and sulk, indulge in attempting some melancholy songs.

Years 200-220: get really invested in my melancholy songs, master the humble guitar and slowly gain some indie popularity with my band, consisting of yours truly and some other powerful entities I formed a sullen bond with in my search for ways to thwart the inevitable demise, End of the World Disposables.

Years 220-222: due to some interpersonal drama our band falls apart despite its solid claim to fame, but with some introspection and making amends I manage to stay friends with three out of the four other members. The bass player continues to sulk at the bottom of the ocean but I send him the occasional fruit basket.

"Uh, they're the same thing," I tell them. "Who are you?"

"Yes!" the being with the tablet exclaims.

One of the other researchers groans. "No! My thesis...months of writing wasted..." One of the others comforts them.

"Now, what is this object for?" The first researcher holds up a discolored, dinged-up plastic object. It's clearly been buried in the ground for quite some time, but the two holes and the scuffed plastic window are distinctive.

"That's a cassette tape. You record music with it."

"Interesting, interesting." The being enters something on the tablet.

"How are you speaking English?"

"Sophisticated translation technology," one of the researchers confides. "We are students of your society. From the future."

"What does this pictogram represent?" The researcher with the tablet turns it around so that the screen faces me.

It's the eggplant emoji.

"Sex," I say. "Why do you need to ask me this if you can time travel or whatever? Can't you just go wherever you want to go and look around and see how these things are being used?"

The beings shift guiltily and look at each other. "Technically, travel to times and places prior the advent of time travel is strictly prohibited. Paradoxes, you know."

"Oh."

"We must be get back before our advisor returns to the lab. Just don't tell anyone you saw us, alright? The space-time continuity depends on it. Can you do that?"

"Uh, sure, I guess?"

One of them pats me on the head. "And don't go to Mars."

"Okay. Wait, why? Is it dangerous?"

"No. Just not worth it."

The group disappears in a shimmering light.

The cassette clatters to the sidewalk behind them.

Out of befuddlement, mainly, I pick it up. It's clearly old, discolored and scuffed, but it still has tape in it.

I carry the tape around in my pocket for a while. The curiosity builds. I want to know what's on that tape. I don't have a cassette player anymore, so I go to Goodwill and pick up the first one I can find, praying that it still works. I plug it in. It turns on.

I slide the tape inside. It's dirty, but it still seems to be in decent shape. I snap the player closed and hit play. The wheels begin to turn. I hold my breath.

A familiar tune starts up. A wobbly voice comes out of the machine.

Walking into a room

Transitioning between scenes without it feeling awkward

Two characters saying “I love you” without it being cringe

Describing a character’s face without using the word “eyes” 500 times

As a writer, understanding and incorporating body language into your storytelling can greatly enhance your characters and their interactions. Here's a cheat sheet to help you describe body language effectively:

Facial Expressions:

* Raised eyebrows: Surprise, disbelief, or curiosity.

* Furrowed brow: Concentration, confusion, or frustration.

* Smiling: Happiness, amusement, or friendliness.

* Frowning: Disapproval, sadness, or concern.

* Lip biting: Nervousness, anticipation, or tension.

Eye Movements:

* Eye contact: Confidence, interest, or honesty.

* Avoiding eye contact: Shyness, guilt, or deception.

* Narrowed eyes: Suspicion, skepticism, or concentration.

* Wide eyes: Shock, fear, or surprise.

* Rolling eyes: Exasperation, annoyance, or disbelief.

Gestures:

* Crossing arms: Defensiveness, disagreement, or discomfort.

* Nervous fidgeting: Anxiety, restlessness, or impatience.

* Pointing: Assertiveness, emphasis, or accusation.

* Open palms: Honesty, openness, or sincerity.

* Hand on chin: Deep thought, contemplation, or evaluation.

Posture and Movement:

* Slumped shoulders: Defeat, sadness, or fatigue.

* Upright posture: Confidence, attentiveness, or authority.

* Pacing: Restlessness, agitation, or contemplation.

* Tapping foot: Impatience, annoyance, or frustration.

* Leaning in: Interest, engagement, or curiosity.

Touch:

* Hugging: Affection, comfort, or warmth.

* Handshake: Greeting, introduction, or agreement.

* Patting on the back: Encouragement, praise, or camaraderie.

* Clenched fists: Anger, determination, or frustration.

* Brushing hair behind the ear: Nervousness, coyness, or flirtation.

Mirroring:

* When two characters unconsciously mimic each other's body language, it indicates rapport, connection, or empathy.

Nodding:

* A subtle nod can convey agreement, understanding, or encouragement.

Crossed legs:

* Crossed legs can indicate relaxation or a casual, nonchalant attitude.

Tapping fingers:

* Impatience, anticipation, or nervousness can be expressed through rhythmic finger tapping.

Hand on the chest:

* Placing a hand on the chest can convey sincerity, empathy, or a heartfelt emotion.

- Tilting the head:

* Tilting the head to the side can suggest curiosity, attentiveness, or interest.

Rubbing the temples:

* Rubbing the temples can indicate stress, fatigue, or a headache.

Chin stroking:

* Stroking the chin while in thought can portray contemplation, decision-making, or intellectual curiosity.

Arms crossed behind the back:

* This posture can indicate authority, confidence, or a composed demeanor.

Tilted body posture:

* Leaning slightly towards someone can suggest interest, attraction, or engagement in a conversation.

Biting nails:

* Nail-biting can reveal anxiety, nervousness, or tension.

Foot tapping:

* Rapid or impatient foot tapping can show agitation, restlessness, or eagerness.

Squinting:

* Squinting the eyes can signal suspicion, doubt, or an attempt to focus on something.

Shifting weight from foot to foot:

* Shifting weight can imply discomfort, unease, or anticipation.

Covering the mouth while speaking:

* This gesture can indicate hesitation, embarrassment, or the desire to hide something.

Remember that body language can vary across different cultures and individuals, so consider your character's background and personality while describing their movements. Additionally, body language is best used in combination with dialogue and internal thoughts to create a more nuanced portrayal of your characters.

Your readers will miss the first hint, ignore the second one, and notice the third.

And even if they notice the second, they'll pat themselves on the back for finding the third clue.

An illustrative example from the Sherlock Holmes story, A Study in Scarlet:

“That seems simple enough,” said I; but how about the other man’s height?”

“Why, the height of a man, in nine cases out of ten, can be told from the length of his stride. It is a simple calculation enough, though there is no use my boring you with figures. I had this fellow’s stride both on the clay outside and on the dust within. Then I had a way of checking my calculation. When a man writes on a wall, his instinct leads him to write above the level of his own eyes. Now that writing was just over six feet from the ground. It was child’s play.”

Someone who loves you makes you breakfast. You thank him and eat it despite the fact the eggs are too crisp on the sides and missing much needed salt. He says its how you like it, but that just makes your frustrations boil.

How I used to like it, you want to say, how I used to be.

The thing rose upon its lowermost appendages, two long trunks that ended in flat, protruding flippers that branched into stubby, grasping mockeries of a sucker. It’s triple-hinged uppermost limbs were similar, but the ends branched into five smaller tentacles, each with three hinges of their own.

I froze, as the thing’s gaze fell upon me and it opened its hideous fish-jaw, filled with thick, many-shaped teeth like white shards of stone, and spoke in a shrill, discordant babble. I felt its horrid dry grip on my flesh, as those hinged appendages closed on me like the legs of a crab.

I felt the heat of its body, tasted its noxious, oily flesh through my touch, and prepared for the end, and all went black as a swoon overtook me.

I awoke, some time later, the cold and comforting water, banished back to the comfort of the sea and the dark. I should be grateful I am alive. I should cast aside the experience like a half-remembered dream.

I shall never again go swimming in search of lights above. The last thing I recall before the darkness took me was my right eye popping free of the thing’s grasp enough to see into the distance for one brief moment.