Romantic Gestures For Characters 

Romantic Gestures for Characters 

❥ The “I Know You” Gesture

Your character remembers something tiny. Maybe their partner always peels oranges but hates the stringy bits. So they do it for them, meticulously. No grand speech. Just peeled oranges on a napkin, handed over like, I got you. It’s not flowers. It’s better.

❥  The “You Matter More Than My Ego” Move

Apologies. Vulnerable, awkward, ugly ones. Not performative, not flowers-as-a-bandage. Just a raw, honest “I screwed up. And you didn’t deserve that.” That’s romance with guts.

❥ The “I Made This With My Clumsy, Lovesick Hands” Attempt

It’s not a five-star meal. It might be an overcooked mess. But they tried. They Googled recipes, burnt a pan, and still showed up with a crooked smile and a smoke-scented apology. Intimacy lives in the effort, not the execution.

❥  The “I’m Thinking of You Even When You’re Not Around” Habit

A voice memo left in the middle of the day. A text that says, “I saw this book and thought of you.” A saved pastry because “you love those stupid lemon ones.” It’s in the thought, the noticing. The I-carry-you-with-me-even-here of it.

❥  The “You’re Safe With Me” Moment

Middle of a panic attack. They don’t run, they don’t fix. They sit. Hold a hand. Count breaths. They become a lighthouse in the fog. That’s not just romance, it’s sanctuary.

❥ The “Make You Laugh When You Want to Cry” Trick

Silly voices. Bad dad jokes. A spontaneous dance in the kitchen just to make them smile. Love doesn’t always whisper—it cackles, snorts, belly-laughs until you can’t remember what the fight was about.

❥ The “I See the You Nobody Else Gets to See” Love

Noticing the nervous tic they try to hide. The quiet resilience. The softness behind the sarcasm. Your character sees it all and chooses to love them there. Not despite their mess, but because of it.

❥  The “I’ll Go to the Boring Thing Because You Care” Sacrifice

They hate art galleries. Or jazz. Or your character’s weird book club full of PhD students. But they show up. They try. They listen and maybe even ask a thoughtful question. Not because they suddenly love postmodern fiction, but because they love you.

❥ The “Let Me Take Care of You, Just This Once” Flip

Especially powerful when it comes from your fiercely independent character. When they finally let someone in. Accept help. Rest their head on a lap and let themselves be held. Or be the one doing the holding for someone who never asks.

❥  The “I Want to Remember This” Gesture

No, not just a scrapbook. Maybe it's saving movie stubs, or voice recording a partner’s laugh because it's perfect and might not last. Maybe it's writing a poem they'll never read. Romance often lives in what we keep sacred, quietly.

❥ Bonus — The Non-Obvious Public Gesture

Holding hands in public when your character usually doesn’t. Or kissing their partner’s temple in front of their disapproving parents. Or calling them “baby” when it makes their partner smile like a fool. Public affection isn’t about performance, it’s about pride. Claiming someone. Softly, fiercely.

More Posts from Mariethecakegal and Others

3 weeks ago

Watched Thunderbolts* and then drew more Magus/Adam Warlock

Watched Thunderbolts* And Then Drew More Magus/Adam Warlock
Watched Thunderbolts* And Then Drew More Magus/Adam Warlock
Watched Thunderbolts* And Then Drew More Magus/Adam Warlock
2 weeks ago
2 weeks ago

#twasalsomewhodecidedtohavethemsplitapartaskids #*mauivoice*yourewelcome

My characters are so happy right now :) Should I... ruin... everything?

2 weeks ago

THIS IS SO CUTE THANK YOU <33

Page 1:
Panel 1: A small child with red hair in pig-tail braids sits at the base of a large tree. Someone off panel says, "The faeries took your child, Mary.
Panel 2: Inside a room with the child and tree visible through the window. Mary, a woman with medium-length red hair, is talking with a woman with short hair tied back with a bandana.
Mary: Not this again.
Other Woman: You remember the stories that mother told us.
Panel 3: The other woman leans forward as she speaks emphatically.
Other Woman: Of the faries that steal your baby and replace it with their own -- a changeling! Those dreadful creatures that then drain you of your energy, food, and time!
Panel 4: Mary's face is blank shock with an ellipsis over her head.
Panel 5: Mary tilts her head in confusion as she speaks.
Mary: Have you ever raised a child?
Other Woman: How do you explain the incident at the market?
Page 2:
Panel 1: Flashback, the child from the first page is crouched on the ground crying. Mary is kneeling a little ways away, watching with a concerned expression.
Mary in present day: That was my own fault. I already knew how Dana hates being around too many people.
Panel 2: Still a flashback. The child, now identified as Dana, hides her lower face in a green scarf. Mary reaches for her carefully.
Other Woman in present day: And how did you comfort her? She acts as if your touch gives her rashes!
Mary in present day: I gave her one of grandmother's scarf. She likes to run her fingers through it.
Panel 3: Back to present day, Dana sits at the base of the tree, the green scarf around her neck.
Other Woman, off panel: She sits at the forest's edge all day, listening. She's a fairy. The forest is calling to her.
Mary, off panel: She's just listening to the sparrow calls.
Panel 4: Tight focus on the Other Woman's unhappy mouth.
Other Woman: Mary, Father M says they're dangerous! he knows the fairies better than us.
Panel 5: Tight focus on the Mary's eye widening in surprise.
Other Woman, off panel: Have you ever met a fairy? Hm?
Panel 6: A tall fairy wearing a green cloak and with diaphanous wings on their back stands over a crib holding a baby. The fairy's eyes are wide as they spot Mary standing nearby.
Page 3:
Panel 1: Mary's hands are clasped, and she looks down at them.
Other Woman, off panel: That's what I thought. Go see Father M once you've come to your senses.
Panel 2: Mary stands in the doorway watching Dana standing by the edge of the forest.
Other Woman, off panel: He'll flog that dreadful creature until it tells him where your real daughter is.
Panel 3: Dana points into the forest and whistles a tune.
Panel 4: Mary is mostly hidden by the door as she watches Dana.
Panel 5: Dana's outstretched hand with her pointer finger extended.
Panel 6: A red sparrow comes to light on Dana's finger.
Panel 7: Dana pets the bird, a soft smile on her face.
Panel 8: Mary comes up behind Dana and the bird. The bird flies away, and Dana is started.
Panel 9: Dana shakes nervously.
Panel 10: Mary's eyes are wide and her mouth slightly open as she looks down at Dana.
Page 4:
Panel 1: Mary smiles softly.
Panel 2: Dana is kneeling in the grass, and Mary kneels beside her.
Mary: It seems that your bird calls have gotten quite accurate, haven't they?
Panel 3: Dana speaks into her scarf.
Dana: Her name is Fianna.
Panel 4: Mary: Does she visit us often?
Panel 5: Dana turns towards Mary and smiles and nods.
Panel 6: Mary holds a hand to her mouth in thought.
Mary: Well, that's no good. I've been a terrible host all this time.
Panel 7: The view is pointed up into the tree canopy.
Mary, continuing her speaking from Panel 6: Do you know what food she likes?
Panel 8: Mary and Dana are in identical poses kneeling and staring unto the forest.
Dana: Cake. Can I make her a pillow to sit on? She says the wood sill is uncomfortable.
Mary: Of course.
Page 5:
Panel 1: Mary asleep in her bed at night. A full moon shines through the window.
Panel 2: Dana's small hands reach up from the bottom of the panel to jostle Mary's shoulder. Mary is partially upright. her eyes wide and her hair in disarray.
Dana, shouting in all capitals: Mother wake up!
Panel 3: Dana has her arms raised as she talks to Mary, and Mary sits up in bed. Dana's speech comprises the entirety of the background surrounding Dana, Mary, and Mary's bed. Some of the words are obscured by the figures or are cut off by the border of the panel.
Dana: Fianna visited me tonight and I could tell something was wrong she wasn't hopping right I think her leg must be hurt. she wasn't flying me way she usually does and she almost crashed wall where arrived, and her song didn't sound right, it minor key and her fifths were off, I had to finish her song for her ever hap, and when I tried to pet her she flinched away something she normally does like didn't want me putting mo ew off it was all weird an blood on it! I don't know I do, and you have to h fly right now, but I'm.
Panel 4: Focus on Mary.
Dana, off panel: Please, you have to help Fianna!
Panel 5: Mary walks through the forest at night, holding a lantern to light her way and wearing a heavy cloak. A red sparrow shining with its own light flies in front of Mary, who is following it.
Panel 6: The sparrow flies between two trees.
Panel 7: Mary watches the sparrow.
Panel 8: The sparrow disappears behind one of the trees.
Panel 9: A small hand emerges from behind the tree.
Page 6:
Panel 1: A small child with long matted hair the same color as the sparrow emerges from behind the tree. Her clothes are ragged and dirty, and blood drips down her left leg.
Child: Stop following me.
Panel 2: Mary stares at the child.
Mary, thinking: A fairy…
Panel 3: Mary kneels down to the child's height and places her lantern on the ground.
Mary: Are you the one who plays with my daughter?
Panel 4: Mary smiles at the child.
Mary: She considers you a very good friend.
Panel 5: The child hunches in on herself.
Child: She's my best friend.
Panel 6: Mary and the child talk.
Mary: You can transform into lots of animals?
Child: Uh huh. I like being sparrow the most.
Mary: Do you like to fly, then?
Panel 7: The child looks down.
Child: I…I like to sing with her.
Panel 8: Mary smiles, touched.
Page 7:
Panel 1: Mary extends a hand towards the child, who is holding onto a tree for support as blood drips from her leg onto the grass.
Mary: Are your injuries alright?
Child: The forest will heal them.
Panel 2: Mary looks worried.
Panel 3: Mary takes off her scarf.
Panel 4: Mary holds her scarf out to the child, who looks at her with wide eyes and eyebrows raised in surprise.
Mary: here, to help keep you warm all night. If you'd like some food or rest, my doors are always open to you.
Panel 5: The child wraps the scarf around her much the same way Dana does.
Child: Inviting in a fairy is dangerous.
Panel 6: Mary is standing, looking down on this small child who only comes up to her hips.
Mary: Yes, well…
Panel 7: Mary heads back through the forest to her home.
Panel 8: Dana is asleep by the windowsill and clutching her scarf to her.
Mary, off panel: I think Dana would be upset with me if I didn't.
Page 8:
Panel 1: Daytime now, Mary brings a plate over to the windowsill where the child, Fianna, who is currently a sparrow stands.
Panel 2: Fianna the sparrow looks down at her meal.
Panel 3: Finna pecks at the birdseed.
Panel 4: Dana holds a pillow aloft triumphantly, and Mary smiles.
Panel 5: Fianna is comfortably nestled in her pillow.
Panel 6: Mary carries a sleeping Fianna on her pillow.
Mary, in a narration box: You're still wrong, sister.
Panel 7: Mary places Fianna next to Dana, who is asleep in bed.
Mary, in a narration box: No child of mine was ever replaced, nor were they meant to.
Panel 8: Fianna is now transformed into a child. It is easy to see how much Dana and Fianna resemble each other as they sleep next to one another.
Mary, in a narration box: I simply have tow daughters.

Hello tumblr I heard you like changeling stories

Edit: If you want a physical copy of this comic!

3 weeks ago

Psst. Writer. Write that idea down. Yeah, it’ll stay in your brain forever and all, but it won’t. Write it down.

2 weeks ago

when i realize i have to write the scenes in order to get to the scenes i want to write

When I Realize I Have To Write The Scenes In Order To Get To The Scenes I Want To Write
2 weeks ago

Things Your Character Secretly Fears (But Won’t Admit It)

(Even if they act like they’ve got it together or especially if they do.)

Being truly known (because what if they’re not enough?)

Being truly loved (because what if they’re not enough... again?)

Being forgotten.

Letting people down, and knowing they did.

Becoming their parents.

Needing help.

Asking for it.

Getting what they want, and hating it.

Being vulnerable and not being met there.

Losing control in front of others.

Letting someone close, only to be abandoned.

Never finding their purpose.

Success (because now they have something to lose).

Hurting someone they care about.

Saying something they can’t take back.

Feeling too much, and not being able to stop.

That they peaked too early.

That they’re not the main character in their own life.

Trusting someone and getting burned for it.

That deep down, they are the villain in someone else's story.

2 weeks ago

WHO ARE WE? WRITERS!

WHAT DO WE DO? WRITE!

WHEN DO WE DO IT?

And there was a silence...

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mariethecakegal - Bingo-Bango!
Bingo-Bango!

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