Tag: reference

soratayuya:

alicedragons:

soratayuya:

I need a SpiceyHoney story that goes from them in a very happy, ‘satisfied by life’ relationship to ‘suddenly Razz decides he is taking Stretch’ thing Bc the SFverse suddenly appears and has no chill (tho they attempt diplomacy)

Gah! Sora. That’s it. It’s decided. You’re a mind reader. I have literally been churning an idea over in my head for so long that’s very similar to this. I, of course, am always down for some good Spicyhoney. But I need to find a way to fit Razz into the dynamic somehow (preferably as a villain turned lover?). Damn you.

And damn you too, @itsladykit. I saw your tags. This hivemind bullshit needs to end.

I saw those tags too @itsladykit. Don’t worry – I’m already in a challenge with you (minor if that), so don’t think of it as a challenge. Think of it as…

An opportunity.

Imagine:

A SpicyHoney story. Very slice-of-life; much hugs, very ‘you’re such a git’ and ‘no you are a git’ sort of committed relationship hugs on the couch and living together-esque things.

Underfell and Underswap (and optionally Undertale and others) have been connected for a long time, long enough at least for everyone to become very friendly with one another, to lay down their guard and even form healthy, romantic, co-dependent relationships.

It’s the best of situations.

One day, a new portal location becomes active. Used to happen a lot, hasn’t happened for a while. No biggie – people get assembled to cordially meet with the newcomers (the ‘delegation’ they send, which is almost always the two skeleton brothers, outlined in a shared, electronic message sent to new portal locations). Possibly all, but at least several of the main skeleton cast are present for the arrival and welcoming of the Swapfell brothers.

The attitude, relationship-with-Razz, and bearing of the SF Papyrus aside…

Razz is a git.

And wow everyone is as polite and pleasant and legit kind to him as possible. But

wow

Hate that guy. Please let him leave soon and be one of the types who isn’t much interested in inter-dimensional travel/communication. Never-want-to-see-him-again type of skeleton.

Pretty much all of the skeletons feel this way about Razz.

Edge and Stretch, however, get to have a special, additional dislike for him, in the delightful form of Razz’s subtle yet repeated comments regarding Stretch and Edge.

Razz makes a point to say how Stretch ‘measures up’ against Slim, using language that is demeaning, rude, and obviously considers what little he’s seen of Taleverse to be ‘beneath’ him or ‘substandard.’ Stretch is clearly uncomfortable around Razz (all of them are, but with Razz more frequently citing things he’s noticed about Stretch, it makes him feel like Razz is singling him out.

He is.)

Edge of course bristles early and eventually becomes very curt with Razz as his lover/mate/boyfriend/husband is spoken to coarsely and with little respect. Razz is dismissive of Edge’s disapproval and shows little sign of considering Edge or the other UF monsters to be much of a threat.

They leave, everybody settles down. People (Stretch) talk Edge down from his (understandably) angry mindset. While the SFs are given an open invitation to return, it is made clear they expect an announcement ahead of time so they can ‘prepare’ for their arrival, but they are not denied future visits or conversation.

They leave.

They come back say, a week (or a day) later. Who arrives will depend on Slim’s attitude and relationship with Razz. If it is a hesitant, fearful, cowed yet obedient Slim, he’ll arrive as a messenger and be sent on his way after the scene. Otherwise it could be an entirely different SF monster, or Razz himself.

Regardless of specifics, the situation now stands that Razz has suddenly decided he is interested in pursuing a romantic or other relationship with Stretch, and requests his presence (or at least response).

Now, Razz has been informed (curtly. By Edge) that Stretch is in a committed, long-term relationship with Edge.

Razz doesn’t give a flying frick.

Obviously this creates some discord amongst the skeletons, not only Stretch and Edge. They calm down whomever gets super angry about this, and manage a civilized response declining the request and explaining very patiently (and diplomatically) that Stretch is in a relationship and is not interested.

Razz doesn’t take “no” for an answer.

Now, the exact reason Razz wants Stretch can be up for debate. It could be a misplaced attraction toward the embodiment of what his own brother could have been but failed to be due to their harsh world, it could be that Razz legitimately is that much of a git and has seen something he wants and has decided to take what ‘rightfully belongs to him’ (given a worldview of those who are strong can take what they want). It could be that any sort of romantic interest was misconstrued by the other skeletons and Razz intends on harboring Stretch as a pet.

Regardless of his exact intentions, Razz turns out to be very powerful, very influential, and very capable of getting what he wants.

——

Hm guess that’s all I have (for now)

[the Razz I’m imagining is a mix – a bit of Lady_Kit’s headcanon for him but significantly much the attitude of PorterHawk96′s “Forlorn Hope” Razz]

If I ever decided to write something for this, it would probably be a very long, very difficult road (for both myself, and for the characters). The ideas that I’ve already been running with stray a bit more down the path of sexual slavery, and the contrast between Tale-verses and Fell-verses.

If anyone else were to write anything for this idea, be it Kit or Askellie (anyone, seriously), I’d be completely there for it. And definitely not just because of my unhealthy thirst for toxic honeyvenom cough.

soratayuya:

I need a SpiceyHoney story that goes from them in a very happy, ‘satisfied by life’ relationship to ‘suddenly Razz decides he is taking Stretch’ thing Bc the SFverse suddenly appears and has no chill (tho they attempt diplomacy)

Gah! Sora. That’s it. It’s decided. You’re a mind reader. I have literally been churning an idea over in my head for so long that’s very similar to this. I, of course, am always down for some good Spicyhoney. But I need to find a way to fit Razz into the dynamic somehow (preferably as a villain turned lover?). Damn you.

And damn you too, @itsladykit. I saw your tags. This hivemind bullshit needs to end.

skeletorific:

*slams fists on table* EDGE. BLUEBERRY. FRIENDSHIP. HEADCANONS.

Listen, this relationship has just become SO IMPORTANT to me to think about because its honestly overlooked potential in the fandom (in my opinion at least). What little there is, is generally “angry tsundere seeks to protect the innocence of the bouncy baby sheep”.

Not that this can’t be a fun dynamic, but given that I’ve been trying to distance myself lately from both Baby Blue and Evil Overlord Edge interpretations I thought I’d give my own take on this unlikely friendship.

-While it was a rocky start, Edge actually developed a pretty quick respect for Blue. Though a lot smaller, he was clearly a powerful opponent. Blue is a hard worker and gives his all to everything he does, which is a characteristic Edge will always hold in high regard. The optimism and overt friendliness was a little insufferable at first, but it was a little easier hearing those things from an alternate of Sans than from his own Tale counterpart. Eventually he even grew a certain fondness for his upbeat attitude, though he never shared it.

-It actually took Blue a little longer to warm up to Edge than Edge to him. While Blue is friendly and generally tries to see the best in people, he was initally a little repelled by Edge’s bossiness and hypernegative attitude towards life. He was still polite and tried to include him in group activities but he didn’t really seek Edge out for one on one interactions at the start. Slowly, though, he began to realize that Edge was one of the few people that didn’t treat him like a kid brother. Edge never seemed thrown when Blue would say something sarcastic, nor did he ask if something was wrong if Blue just wasn’t smiling as much that day. Hanging out with Edge was almost a break for him, a break from having to be the bright shining light of positivity. With Edge he could indulge himself in some more repressed sides of his personality, such as his penchant for the occasionaly dark joke or his sometimes startlingly grim views on the future or life. Don’t get me wrong, Blue is genuinely a positive person, who hopes for the best and is generally pretty happy. But at his core, he’s still a Sans, and still has those darker, lower energy moments. Being with Edge was like he finally had permission to be that way when he had to. 

-Both are total gym rats and spend a lot of time comparing workouts and competing over reps. They have absolutely done that thing where they take treadmills next to each other and play Chicken with the speed settings. One time Blue tripped and got launched through the wall behind them. Still, its good natured.

-When not at the gym they spend a bizarre amount of time in mall food courts. Sometime they’ll go shopping but they also like to just talk and people watch. Edge will never admit it but he has a serious weakness for Cinnabon and Blue likes the Orange Julius’. 

-Blue is the Adrenaline Junkie and Edge is the Mom Friend who will do pretty much anything if you accuse him of being chicken. They do everything from skydiving to streak through government property in the dead of night. Edge complains the whole time.

-They give each other pretty much constant shit for how each other dresses.

Edge: NICE OUTFIT, SOMEONE DID TELL YOU THERE ARE COLORS OTHER THAN BLUE, RIGHT?

Blue: WAS HOT TOPIC HAVING A FIRE SALE? BECAUSE THOSE CLOTHES OUGHT TO BE BURNED

-Edge is the designated driver, mostly because he backseat drives Blue likes crazy

@itsladykit You might appreciate some of these ^-^

Leaving Holes

astudyinrose:

write-like-a-freak:

rederthere:

write-like-a-freak:

Your story is 50% reader. It’s that mixture of reader and writer that makes the magic.

Which means your story needs to have holes for the reader to fill in. You need that negative space for the puzzle pieces to fit.

I’m not talking about plot holes, I’m talking about giving one sentence the power of two. A book that means what it says is a mediocre book. A book that means more than what it says is a great book.

Don’t over-develop your characters, having them analyze every feeling, or spelling out what every character in a scene is thinking. Don’t follow up a powerful line with an explanation with what makes that line powerful.

Let your words imply as much as they state.

it can be so so hard sometimes, cuz i gotta remember i can trust my readers

And it can be hard to know WHICH holes to leave. You don’t want to leave any ‘this doesn’t make sense’ holes, but you do want to leave ‘insert your interpretation here’ holes.

this is the most important think I have ever learned about writing

How to make a character’s death sadder

ekinoksin:

the-right-writing:

  1.  Don’t have them die of old age after a long, fulfilling life. Many people don’t even think of this as sad (note that this can still work if you have enough of the other factors).
  2.  Leave one of their major goals unfinished. The more enthusiastic they are about completing the goal, the sadder.
  3.  Give them strong relationships with other characters.
  4.  Make them fight against whatever is causing their death. Their ultimate loss is sadder if they struggle.
  5.  Kill them in the middle of their character arc.
  6.  Don’t describe their funeral in detail. Maybe it’s just me, but I find that long descriptions of funerals kill the sadness.

I’m not actually big on major character deaths, because they tend to upset me, but this is a good reference for anyone with a heart of stone.

So, I don’t know how to write pain like! What words do I use? how do I describe it! I really need some help here!

creativenostalgiastuff:

she-who-fights-and-writes:

No problem! And sorry about not answering sooner, I was on vacation. To make it up to you, I’ve made one of my trademark Long Posts about it.

TIPS ON HOW TO WRITE PAIN (FOR BOTH ORIGINAL CONTENT WRITERS AND FANFICTION WRITERS)

image

When I first started writing, about eight years ago, I had the same issue as @imjustafuckinggirl.

How are you supposed to write about pain you’ve never experienced before???

The characters in my book suffer through all sorts of terrible shit, and in no way am I writing from experience, which is marginally easier to do than write about something that has never happened to you.

However, with time, I managed to gather up a few strategies on how to write pain.

1. Don’t Write Paragraphs About It

image

I know, it’s tempting. You want to convey to the reader just how much pain the character is in, and you think that the pain will be emphasized the more you write about it.

This, however, is a lie.

As a reader, when I’m reading a book or fanfiction where, whenever the writer uses agonizingly long paragraphs to describe when a character is hurt, I skip it.

Entirely.

It’s boring and, quite frankly, unnecessary, especially during a fight or huge battle, which are supposed to be fast-paced.

When it comes to writing about pain, it really is about quality and not quantity.

In my own writing, I stick to short, quick paragraphs, some of them which are barely a line long. This gives it a faster pace and sort of parallels with the scattered, spread out thoughts of the character as they suffer.

2. Describe it Right

image

Many times, usually in fanfiction, writers over-exaggerate certain injuries.

This partially has to do with the fact that they’ve never experienced that injury before and are just thinking about what it might feel like.

As a girl with two brothers and who often participated in rough play-fights, I can assure you that getting punched is not as painful as you think it is.

(However, it does depend on the area, as well as how hard the punch is, on top of the fact that you have to take into account whether or not the punch broke bones)

I’m reading a high school AU where a character gets punched by a bully (Idk where they got punched it wasn’t stated) and the author is describing it like they’d been shot.

It was to the point where I was like Did the bully have brass knuckles or something????

It was very clear that this author had never been punched before.

When describing the pain of an injury or the injury itself, you have to take into account:

– What object was used to harm the character

– Where the injury is

– How long the character has had the injury

– (For blades) How deep the cut is

– (For blunt force trauma) How hard the hit was

– Whether or not the wound triggers other things (Ex: Concussion, vomiting, dizziness, infection, internal/external bleeding).

There’s also the fact that when some authors described wounds caused by blades such as knives, daggers, and swords, they never take into account the anatomy of a person and which places cause the most blood flow.

Obviously, a cut on your cheek will have less of a blood flow than a cut on your wrist, depending on what the blade hits, and I hope that everyone consults a diagram of veins, capillaries, arteries, etc. when they’re describing blood flow from a certain place.

There’s also the fact that you have to take into account where the blood is coming from. Veins? Arteries?

The blood from arteries will be a brighter red, like vermilion, than the blood from veins, which is the dark crimson everyone likes to talk about.

Not all places gush bright red blood, people!

3. DIFFERENT INJURIES HAVE DIFFERENT KINDS OF PAIN

image

Here, let me explain.

A punch feels different from a slap.

A broken arm feels different from getting stabbed.

A fall feels different from a dog bite.

I’ll give you a list of all the kinds of things that can be described for the three most common kinds of injuries that happen in stories:

Punch/Blunt Force Trauma

How it feels:

– Aching

– Numbness (In the later stages)

– A single spike of pain before it fades into an ache

– Throbbing

Effects:

– Vomiting (If the character is punched in the gut)

– Swelling

– Bruising

– Broken bones

– Unconsciousness (Blow to the head)

– Dizziness (Blow to the head)

– Concussion (Also a blow to the head)

– Internal bleeding

– Death (In the case of concussions and internal bleeding and broken bones- ribs can pierce lungs)

Stab Wound/Cut

How it feels:

– Stinging (only shallow wounds have just stinging)

– Burning

– With stab wounds, I feel like describing the effects of it make it more powerfully felt by the reader

Effects:

– Bleeding (Consult chart of the circulatory system beforehand for the amount of blood flow that should be described and what color the blood should be)

– Dizziness (Heavy blood loss)

– Unconsciousness

– Infection (if left unattended)

– Death

Gunshot

How it feels:

– Depends on the caliber bullet, from how far away they were shot (point-blank range is nothing like being shot from a distance), and in what place. Do careful research and then make your decision.

Effects:

– Bleeding
(Consult chart of the circulatory system beforehand for the amount of
blood flow that should be described and what color the blood should be. Also take into effect the above variables for blood flow as well.)

– Dizziness (Heavy blood loss)

– Infection (if left unattended)

– Death

Some things that a character may do while they’re injured:

– Heavy/Harsh/Ragged breathing

– Panting

– Making noises of pain

  • gasping
  • grunting
  • hissing
  • groaning
  • whimpering
  • yelping (when the injury is inflicted)
  • screaming
  • shrieking
  • wailing

– Crying/ Weeping/Sobbing/Etc.

– Clenching their teeth

– Unable to speak

– Pressing their hands against a stab wound/cut to try and stem the bleeding

– Eyesight going out of whack (vision blurring and tilting, the room spinning, black spots consuming sight)

– Eyes rolling up into their head

– Trembling/shaking

– Ears riniging (from gunshot)

HOPE THIS HELPED!

Reblog to save a story!

vannatmkort:

the-gay-anomaly:

@mercy-run @rehlia @poubelle-squelette @to-find-your-place @tyranttortoise 

I need to start planning out my stories before I write them so I don’t keep getting stuck with plot holes and dead ends, but the problem is I have no idea how to plan a story in a way that works for me. I was wondering if you guys would possibly help me by giving me how you plan out your stories so I can see how others do it and find a way that works for me.

Anyone who writes that I haven’t tagged is welcome to answer too, I’m really struggling with this and need all the help I can get!

hi!! hey!! hello!! spooks here to give a pal some advice on writing

i wanna start out with a disclaimer bc this is pretty important but please note that the way someone else plans a story may not necessarily work well for you. i’ve learned this especially over the years, as i’ve had to try out a variety of different planning styles before settling on the one i have now!

my planning process is usually complex and messy to most people, but i’ll try to condense it for the sake of being coherent. it mostly consists of this:

* setting

* characters

* plot outline 

i’ll be explaining these sections separately because there are several ways i go about them, depending on the story. another note: planning is flexible, depending on what you’re writing. one structure may not work for one story but will fit for another and vice versa. a lot of this just depends on the situation, really.

with setting, i usually break it up with world-building and rules that will apply to the story itself. it’s helpful, especially in a fantasy setting (which is almost exclusively what i write), to have an idea as to what your world is like and how it works. this can range from the landscape, the people that live in the world, what civilization is like, what languages there are, if there are any religions, any significant landmarks that pertain to the story, etc. etc. and whereas most people say its better to plan literally everything there is that goes into world-building, i usually just stick to what’s relevant to the plot–but, if you don’t know what the plot is like, it helps to brainstorm some things that would apply to your world. 

another thing ive started doing while planning the setting is making a map. depending on the book, this ranges from a small map to several big maps. though i draw out the geography and the like, i only mark up what is relevant to the story–because again, anything that doesn’t come up in the story isn’t a main focus. 

getting a decent idea of what setting you’ll have helps you understand what your characters will be going through, where they will travel, what they believe in, what made them who they are, etc. etc. so planning your setting can be a huge help in constructing everything else about your story.

characters are a bit difficult for me to explain, because i plan characters in my head. i very rarely write down much when it comes to characters anymore, because i can keep things straight pretty well in my head. however, i can say that some essentials to plan when it comes to characters would be the following:

* personality

* their past

* their impact on the story/their role in the story

* relations with other characters (this one is more or less an additional place to plan, though, depending on the story)

i think these areas personally are the most important, as it helps make the character memorable. what kind of person are they? what are their flaws? what makes them distinct from the rest of the characters? do they have a minor or major role in the story? what is their impact on the story? answering these questions (and more; there’s always more when it comes to character building) will help fleshen out your characters and map out some basic points to hit on with the plot. 

if you don’t have any clue what the plot will be like at this point in time, it may help to work extensively on the characters and see what you can make out of the facts you’ve laid out for them. for example, if you have a few characters that share an interest in, say, mythical creatures, then you can make a story that involves hunting down monsters or investigating the supernatural. knowing who your characters are and making sure they are realistic and relatable will strengthen your story and can help further along the plot. 

finally, we have the plot outline. again, i break this section into parts, as breaking things up makes them less intimidating for me and more doable. i tend to break the plot outline into several parts:

* brainstorming

* rough draft general outline

* revised general outline

* chapter outlines

before i begin explaining these, i have to say that more often then not, this part of my writing process comes up constantly. unlike with characters and setting, which for the most part is untouched after initially being touched upon, the outline portion of my writing changes constantly, and is often revised the more i write in order to fit changes i’ve made in the story itself. anything is opt to change, making this part of my process extremely flexible, and was actually a big reason why i didn’t plan my stories until about a year or two ago. it was too much of a hassle to keep revising my outlines a thousand times because things just didn’t line up with what i originally thought was going to happen. 

brainstorming is exactly what it sounds like--writing down ideas and random thoughts on a story and putting it down on paper. there are plenty of exercises for this, but my favorite is just writing random words and making something (like a character trait or an event/action) out of those words. don’t be afraid to go nuts with this–have as much fun as you want and let your imagination run wild! sometimes that spawns the best ideas.

the rough draft for the general outline is a basic outline of my story. i usually summarize the story in a paragraph or two, and list some basic points that i know are going to happen or that are vital to the storyline. it’s really bare-bones (hahaha) but it helps me write a more in-depth outline later on. 

for the sake of making sense, i’ll use an example: just make something up right here and there. i’ll be using suzie and mark, two random kids, for this, and a magical setting where monsters exist. 

“suzie and mark are two 10 year olds who discover a magic egg that is believed to lead to unseen riches. as they both originate from poor families, they go on a quest to find these riches and bring them back home, and become heroes amongst their peers. however, their journey proves to be perilous, as their course is being closely followed by monsters, who will do anything in their path to thwart them. [Depending on how you want to take the story, they either fail or succeed in obtaining the riches]”

speaking of, the revised general outline has a pretty misleading name, as, again, this process undergoes a lot of revision as i write. but, it is a more in-depth outline for the story, and lists out event-by-event what is going to happen in the story. a basic, easy “revised” outline would look something like this:

* suzie and mark play in the playground. discover a magical egg under swingsets.

* S & M (i appreviate names often because i’m lazy) ask magic lady in town about the egg. learn that if they go into the forest the egg will lead them to riches.

* kids go to the forest and meet monster. monster has them solve a riddle before they can pass. (they either solve or do not solve the riddle)

depending on whether or not they are successful, suzie and mark either are eaten by the monster or proceed and gain riches that no normal ten year old is able to handle (they probably shouldn’t be able to handle them, either. remember–realistic and relatable). this is a very basic plot that i’ve used as an example, but you get the gist. 

finally, we’ve reached chapter-by-chapter planning. this is where changes in the revised outline comes into play, as applying revised points of the plot to the chapters themselves can prove to be difficult, and you’ll need to tweak things so they work with the story. i tend to plan chapters as i reach them, which can also be attributed to how much my outlines change, though i’ve also found that planning beforehand causes changes anyways. the final product of your first rough draft (or even your final draft) may not even resemble your original plans. 

what i do for this part of the process is i use parts of the planning in the general outline and expand them. i’ll keep drawing from the example of suzie and mark, considering it’s helpful for me to explain my point:

* suzie and mark play in playground (the original plot point)

** brought there by parents so parents could discuss business. not really paying attention to children

** suzie and mark bullied by other kids and forced to play on their own. decide to play hear swingset

** S notices egg in sand. S & M uncover egg and show to parents

** parents dismiss them and mumble about magic lady in town, giving the kids the idea to visit her

by doing this, i am able to picture how one event in the general planning leads to another. it makes things more fluid, and at times can help get you to understand the plot a little better.

that’s about it for my planning process!! of course, if you’re still stuck, i’d say it wouldn’t hurt to go back to the drawing board and see if you can move things around or change things so its either easier for you to write or so things make more sense. i’ve done this many times simply because i wanted to do something that i simply couldn’t pull off at the time, and it was complicating things more than you should.

you should also get other opinions!! ask people to read over your stuff, see if they have any ideas. if you hear what others think, then you can draw from that and go from there

i hope you found this helpful!! sorry it’s so long, but hey, my process is pretty long, so that’s how the explanation is going to be XD 

100 Words for Facial Expressions

smut-101:

1. Absent:

not attentive, preoccupied, absent-minded

2. Agonized: as if in pain or tormented
3. Alluring:

powerfully and mysteriously attractive or fascinating; seductive

4. Appealing: attractive, in the sense of encouraging goodwill and/or interest
5. Beatific:

bestowing bliss, blessings, happiness

6. Bilious:

spiteful; bad-tempered

7. Black:

gloomy, pessimistic, dismal

8. Bleak:

without hope or encouragement; depressing; dreary

9. Blinking: surprise, or lack of concern
10. Blissful: showing a state of happiness or divine contentment
11. Blithe: carefree, lighthearted, or heedlessly indifferent
12. Brooding:

showing unhappiness of thought or appears darkly menacing

13. Bug-eyed: frightened or surprised, having the eyes bulging

14. Chagrined: humiliated or disappointed
15. Cheeky:

impudent or irreverent, typically in an endearing or amusing way

16. Cheerless:

joyless, depressing

17. Choleric: hot-tempered, irate
18. Coy:

shyness or modesty that is intended to be alluring
19. Crestfallen:

dejected, dispirited, discouraged

20. Darkly:

vaguely threatening or menacing manner

21. Deadpan:

deliberately impassive or expressionless

22. Dejected: downcast, depressed, dispirited

23. Derisive:

expressing contempt or ridicule

24. Despondent:

showing profound hopelessness, discouragement, or gloom

25. Doleful:

expressing sorrow, mournful
26. Dour:

relentlessly severe, stern, or gloomy in manner or appearance

27. Downcast: low in spirit
28. Dreamy:

pleasant, peaceful, and relaxing

29. Ecstatic:

in a state of ecstasy, full of joy, rapturous:

30. Etched: a feeling clearly visible on someone’s face

31. Faint: cowardly, weak, or barely perceptible
32. Fixed:

set or intent upon something; steadily directed

33. Furtive:

suggestive of guilty nervousness

34. Gazing:

look intently, especially in admiration, surprise, or thought

35. Glancing:

to look quickly or briefly

36. Glaring:

having a fixed look of hostility, fierceness, or anger

37. Glazed:

a fixed, dazed, or lifeless expression

38. Gloomy:

filled with or showing gloom; sad, dejected, or melancholy.

39. Glowering:

sullen dislike, discontent, or anger
40. Glowing:

showing the radiance of health, excitement

41. Grim: very serious or gloomy

42. Grave:

something that is serious or doing something in a solemn manner

43. Haunted:

showing signs of mental anguish or torment

44. Hopeless: depressed by a lack of encouragement or optimism
45. Hostile: aggressively angry, intimidating, unfriendly
46. Hunted:

appearing worn or harassed as if one is being pursued.

47. Impassive:

without emotion; apathetic; unmoved.

48. Inscrutable: mysterious, unreadable
49. Jeering: insulting or mocking
50. Languid:

lacking in spirit or interest; listless; indifferent

51. Leering:

look or gaze in an unpleasant, malicious, or lascivious way

52. Meaningful:

full of meaning, significance, purpose
53. Mild: easygoing, showing gentleness

54. Mischievous: annoyingly or maliciously playful; teasing
55. Moody:

gloomy, depressed, or sullen; ill-humored

56. Pained:

expressing distress, anguish, or resentment

57. Pallid:

lacking in vitality or interest

58. Peering: look keenly or with difficulty at someone or something

59. Peeved:

annoyed; irritated; vexed

60. Petulant: impatient irritation, especially over some trifling annoyance

61. Pitying: sympathetic, expressing pity
62. Pleading: seeking apology or to appeal earnestly or humbly

63. Pouting:

to show displeasure or wearing a sullen expression

64. Quizzical:

indicating mild or amused puzzlement

65. Radiant:

bright with joy, hope

66. Roguish:

playfully mischievous, especially in a way that is sexually attractive

67. Sanguine:

cheerfully optimistic, hopeful, or confident

68. Sardonic:

grimly mocking or cynical

69. Scornful: contemptuous or derisive
70. Scowling:

to have a gloomy or threatening look

71. Searching:

acutely observant or penetrating

72. Set:

to direct with fixed attention

73. Shamefaced:

feeling or expressing shame or embarrassment
74. Slack-jawed:

an indication of astonishment, bewilderment

75. Sly:

showing a cunning and deceitful nature

76. Snarling: surly or threatening manner

77. Sneering:

contort the face in a manner that shows scorn or contempt

78. Somber:

oppressively solemn or sober in mood; grave

79. Sour:

harsh in spirit or temper; austere; morose; peevish

80. Stolid:

calm, dependable, and showing little emotion or animation

81. Straight-faced:

with a blank or serious facial expression

82. Sulky: morose, bad-tempered, and resentful; refusing to be cheerful.

83. Sullen:

showing irritation or ill humor by a gloomy silence or reserve

84. Taunting:

to reproach in a sarcastic, insulting, or jeering manner; mock

85. Taut: strained or tense
86. Tense:

in a state of mental or nervous strain; high-strung
87. Tight:

firmly or closely fixed in place; secure
88. Unblinking:

looking at something in a honest and accurate way

89. Vacant:

having or showing no intelligence or interest ; blank
90. Veiled:

not openly or directly expressed; masked; disguised; hidden
91. Wan:

of an unnatural or sickly pallor; pallid; lacking color

92. Wary:

watchful, cautious, or alert
93. Wide-eyed: having one’s eyes wide open in amazement

94. Wild-eyed:

an expression of panic or desperation in their eyes

95. Wistful:

showing a feeling of vague or regretful longing

96. Withering: weak, thin
97. Woeful: full of grief; wretched; unhappy

98. Wolfish:

resembling a wolf, in being rapacious, voracious, or lascivious

99. Wrathful:

full of or characterized by intense anger

100. Wry: an expression of disgust, disappointment, or annoyance.