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alittlehumbugcalledShe Active Member

Is there a way of describing a door opening that isn't mind-numbingly boring.

Discussion in ' Word Mechanics ' started by alittlehumbugcalledShe , Feb 3, 2021 .

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); As above. It's important in the scene that the door does open, but all I can think of is stuff that makes my eyes roll out of my head. You know what I mean: "The door to the library swung/fell open...", etc. It's not exactly groundbreaking stuff, I admit. It's also not the worst out there, either, but the thing is that I've read this kind of sentence so many times that my eyes just skip over it if I come across it. I'm just trying to find if there's a new way of doing such things. Has anyone found an example by an author where they've used a more interesting, NOT mind-numbingly boring way of describing such mundane things (even like 'she boiled the kettle', she closed the door', etc.)? I've been trying to find examples in the books I've got, but they all seem to do it the same way. Perhaps the mundanity of it IS the right choice to make, after all, but I'd love a second or third opinion from you guys!  

Homer Potvin A tombstone hand and a graveyard mind Staff Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); What's wrong with just saying the door opened? It's not a spectacular event that demands creative description.  

Bruce Johnson Contributor Contributor Contest Winner 2023

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); New here, so take it with a grain of salt. I'd say the act of opening or closing a door is fairly mundane and just describing it (the sound, vibrations, etc.) should be enough IF it is just part of natural action. But, if opening it immediately (or even early in the ensuing scene) reveals something shocking or leads to something significant, perhaps describing it metaphorically to fit the scene MAY be something to consider.  

peachalulu Member Reviewer Contributor

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); Unless it's opening to another dimension or revealing a shadowy maniac or a long lost love I wouldn't put too much oomph into it. Some sentences are meant to be bricks and mortar.  

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); Thanks everyone! Yeah, I think you might be right - sometimes it is better to just keep it simple, after all. If I'm still not happy with it, I can maybe mark it in red and come back to it. Thanks again!  

Xoic Prognosticator of Arcana Ridiculosum Contributor Blogerator

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); Yep, this goes back to the conversation we had a while ago about Hemingway and his (apparent) disdain for fancy ways of describing things (though he was guilty of that sin himself in some early works). We sort of landed on the idea that, if it's important enough, go all out (within limits) otherwise just write it. No guarantees, but I'll see if I can dig it up.  

Friedrich Kugelschreiber marshmallow Contributor

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); I tend to prefer that descriptions of doors opening be mind-numbingly boring.  

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); Xoic said: ↑ the conversation we had a while ago about Hemingway Click to expand...

• Smoothest Flow Possible
• How do I make my writing less wordy?
• What are some examples of the "simple but vivid" description that Chekhov talks about below?

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); To use an example from that last thread (my 1st post on it): "The wind blew." Personally that feels really flat and lifeless to me. I prefer something like "The wind swept across the field of head-high grass, stirring it gently." But it all depends on why your door opens, and what it means, especially to the POV character (the one the story is being told through). What kind of mood are they in? What does the opening of the door mean to them in this moment? Are they expecting a jealous boyfriend to step in with a butcher knife? Or maybe Ed McMahon with a giant check? Or maybe he thought he was the last person left alive on Earth? The situation you've set up creates the meaning of the opening of the door. Should it creak ominously (hopefully in less stereotypical terms)? Should it open silently and smoothly? Is there light behind it, and darkness in the room? Or the other way around? Is it symbolic of something emotional, something powerful? If it's just another inhabitant of the house or apartment stepping in for no special reason, you probably don't even need to say the door opened. There's a thing in movies called coverage, where the director (usually an underpaid and overworked second unit director) shoots a lot of people walking down corridors, doors opening and closing, people getting in and out of cars, etc, just in case it's needed for the edit, though much of it lies unused. In a good movie anyway. In a bad movie it might all get used.  

googletag.cmd.push(function() { googletag.display('funpub_08ef2a1fd3de6d4d6918c96cfd422b4d'); }); Xoic said: ↑ Haven't found it yet, but here are 2 threads that came up in the search exploring very similar ideas: Smoothest Flow Possible How do I make my writing less wordy? Bingo! Here's the one I was thinking of: What are some examples of the "simple but vivid" description that Chekhov talks about below? Click to expand...

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57 Best Ways to Describe Buildings in Writing (+ Examples)

One of the key components of any setting is the buildings within it.

Knowing how to describe buildings can transport your reader right into the world you’ve built.

Here’s how to describe buildings in writing:

Describe buildings in writing by utilizing architectural style, historical periods, materials used, and their cultural significance. Incorporate sensory details like soundscapes and emotional resonance. Highlight unique features, transformations, legends, and personal memories for depth.

In this article, you’ll learn all the ways to describe buildings in your writing.

1. By Historical Period

Table of Contents

Different historical periods offer a plethora of architectural designs.

When you mention a building from the Renaissance era, the image of grandeur, classic designs, and meticulous details springs to mind.

Similarly, medieval structures might invoke images of castles and fortresses.

Some historical periods to consider are:

• Ancient : Pyramids, temples, and coliseums.
• Medieval : Castles, fortresses, and walled towns.
• Renaissance : Grand manors, theaters, and palaces.
• Victorian : Ornate houses, large estates, and townhouses.
• Modern : Skyscrapers, glass-fronted buildings, and minimalist designs.

2. By Material

The building material not only imparts a physical texture to a structure but also offers a tactile feeling to your narrative.

When we describe a structure made of sandstone, readers may visualize its ruggedness and the warmth of its golden-brown hue.

On the other hand, glass skyscrapers evoke modernity and offer a reflection (both literal and metaphorical) of the urban world.

Examples of materials :

• Brick : Often seen in traditional townhouses. Think of the classic brownstones of New York.
• Marble : Conjures images of opulent palaces or Greek temples.
• Wood : Wooden lodges or cabins evoke feelings of nature, simplicity, and coziness.
• Glass : Mostly seen in modern office buildings or high-rises, suggesting transparency and sleek design.

3. By Height

Height in buildings can be an implicit indication of many things, including the period in which it was built, its function, or the aspirations of its builders.

A towering skyscraper in a business district implies a beacon of commerce and ambition.

In contrast, a quaint, single-story cottage nestled in a village street whispers tales of simplicity and tradition.

The narrative contrast is stark between the dominance of a city’s tallest structure and the humble abode that clings to the ground, embodying a quiet, unassuming charm.

Both have stories to tell, and the tales are as different as the shadows they cast.

Every building, whether ancient or modern, stands as a silent witness to the passage of time.

When describing an old, moss-covered stone building, readers might imagine the countless seasons it has withstood, the generations it has seen, and the myriad stories embedded in its walls.

A newly constructed high-rise, with its shiny facade and contemporary design, hints at a world that’s rapidly evolving, racing towards the future.

It speaks of innovation, of fresh beginnings, and sometimes, of the relentless march of progress that leaves no room for the old.

5. By Function

A building’s function is its heartbeat. It dictates the rhythm of activities inside, the kind of people who frequent it, and the emotions it evokes.

A school, for instance, might resonate with the sounds of children’s laughter, the rustling of books, and the knowledge pursuits.

Examples of functions :

• Library : A sanctuary of silence, corridors filled with the musky scent of old books, and seekers of knowledge lost in its aisles.
• Factory : Buzzing with activity, and machinery noise, indicative of industry and production.
• Barn : Evoking rustic charm, the scent of hay, and the sounds of farm animals.
• Theater : A world of art, echoing with applause, dramatic performances, and cultural expressions.

6. By Atmosphere

More than its physical attributes, the atmosphere of a building defines its soul.

It’s the difference between a church’s hallowed silence, which commands reverence, and the bustling, lively cacophony of a market square teeming with life.

While the exterior might give a hint, it’s the interior atmosphere of a building that truly draws a reader in.

The interior offers them a seat in its world, whether that’s the tranquility of a remote mountain monastery or the energetic vibe of a downtown jazz club.

7. By Surroundings

Buildings don’t exist in isolation.

They’re part of a larger tableau. Describing the surroundings sets the stage.

A lone manor at the edge of a dark forest might evoke mystery and intrigue, while the same manor overlooking a serene lake offers tranquility.

Context, in essence, is a silent storyteller.

It provides clues about the building’s purpose, its history, and its relationship with its environment.

The quaint bookshop squeezed between two modern cafes speaks of resilience amidst change.

Just as a historic monument amidst skyscrapers stands as a reminder of the city’s rich past.

8. By Color

Colors are a palette of emotions.

Describing a building’s color is akin to painting its mood.

The pastel hues of a coastal villa might convey a laid-back, beachy vibe.

Meanwhile, the monochrome shades of an urban structure suggest sobriety and functionality.

Whether it’s the radiant gold of a palace under the sun, the deep blue of a nighttime diner, or the rusty red of an old barn, colors breathe life into descriptions, making them vivid and evocative.

Size can be both a physical measure and a psychological one.

A sprawling mansion, with its many rooms and vast lawns, can indicate grandeur and opulence.

On the other hand, a small, compact house might not be grand, but it could brim with warmth and coziness.

It’s about the space, its utilization, and the feeling it imparts.

Does the vastness of a castle make one feel lost, or does it evoke a sense of awe? Does the confined space of an attic room feel claustrophobic, or does it exude intimacy?

10. By Architectural Style

Every architectural style brings with it a set of aesthetics, principles, and histories.

A Gothic cathedral, with its pointed arches and intricate detailing, is more than just a place of worship

It’s a testament to a particular period of architectural achievement.

Examples of architectural styles :

• Art Deco : Think of the glamorous 1920s, with ornate details, bold geometric forms, and lavish materials.
• Brutalist : Characterized by raw, unadorned concrete structures, it often evokes strength and functionality.
• Colonial : Reminiscent of colonization eras, with large porches, brick facades, and symmetrical designs.
• Modernist : Simplified forms, open floor plans, and a strong emphasis on horizontal and vertical lines.

11. By Cultural Influences

Every culture has its distinct architectural imprints.

Buildings influenced by a specific culture bring with them a rich tapestry of history, traditions, and artistic nuances.

For instance, a pagoda-style temple immediately brings forth Asian influences, whereas a hacienda-style house could transport readers to the heart of Mexico.

A mosque, with its minarets piercing the sky, intricately designed domes, and calligraphy-laden interiors, speaks of Islamic artistry.

A Mediterranean villa with stucco walls and red-tiled roofs tells tales of sun-kissed coasts and leisurely lifestyles.

12. By State of Repair

The condition of a building can be a rich source of narrative information.

A dilapidated mansion covered in ivy, with broken windows and creaky doors, might hint at long-forgotten stories, neglect, or even hauntings.

In contrast, a well-maintained Victorian house, freshly painted with a manicured lawn, suggests pride, history cherished and sustained.

Structures in ruins, especially historic ones, often feel melancholic, reminding readers of the inexorable march of time.

Meanwhile, buildings under construction are beacons of progress, symbolizing hope, aspirations, and the future.

13. By Decorative Elements

Details matter.

An ornate balcony with wrought-iron railings, statues adorning entrances, or stained glass windows can offer readers visual treats and clues about a building’s history and the aesthetic preferences of its inhabitants or architects.

Examples of decorative elements :

• Gargoyles : Often found in Gothic structures, these stone creatures serve both decorative and architectural purposes.
• Frescoes : Painted walls or ceilings, common in Renaissance buildings, depict scenes or stories.
• Mosaics : Pieces of colored glass or stones arranged to form patterns or images, frequently found in Byzantine architecture.
• Columns : Pillars that might be Doric, Ionic, or Corinthian, each bringing a different historical and aesthetic layer.

14. By Lighting

Light, both natural and artificial, plays a significant role in setting the mood.

A cathedral bathed in the soft hues of sunlight filtering through stained glass windows offers a kaleidoscope of colors and emotions.

Conversely, an alleyway dimly lit by a lone lamp post might evoke feelings of solitude or mystery.

The glow of lanterns in an old inn or the harsh neon lights of a modern nightclub can drastically alter the way a building is perceived, grounding readers in a specific time or mood.

15. By Acoustics

Beyond the visual, what does a building sound like?

The echo of footsteps in a grand marble hall, the muffled sounds in a carpeted library, or the lively acoustics of a music hall can immerse readers deeper into the setting.

Acoustics can also serve as indicators.

Sound bouncing off the walls of an empty mansion might evoke feelings of loneliness or abandonment.

Buildings like opera houses or concert halls, specially designed for optimal acoustics, not only emphasize the significance of sound but also bear testimony to the architectural marvels dedicated to the art of sound.

16. By User Experience

How does one navigate or experience the building?

A labyrinthine palace with endless corridors and secret chambers can give a sense of mystery.

In contrast, an open-plan modern office emphasizes transparency and collaboration.

The ease or difficulty of navigating a space, the viewpoints offered by balconies or windows, and even the experience of ascending a grand staircase versus taking a modern elevator can offer readers insights into the building’s purpose and the era’s design principles.

17. By Integration with Nature

Some buildings seamlessly integrate with their natural surroundings, while others stand out.

A cottage with walls covered in ivy, almost hidden by the woods around it, offers a different narrative than a steel-and-glass structure stark against a forest backdrop.

Consider a treehouse that becomes one with the canopy or a desert abode designed for optimal cooling.

Either way, the relationship between a building and its environment can be a rich descriptor, highlighting harmony or discord.

18. By Innovations or Anachronisms

Certain structures stand out due to their innovative designs or features that are anachronistic for their time.

An ancient building with ahead-of-its-time water systems, or a futuristic house with solar integrations and smart tech in a traditional neighborhood, can be points of interest.

Such descriptions can surprise the reader, make them curious, or emphasize the uniqueness and significance of a structure.

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

They might represent power (like a king’s palace), spirituality (like a temple or church), knowledge (like a grand library), or even decay and decline (like ruins).

The symbolic weight of a building can add depth to its description and make it more resonant in the narrative.

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

Is it a famous landmark, a tourist magnet with crowds always milling about?

Or perhaps it’s a notorious structure, shunned by locals due to dark tales or unfortunate histories.

The public’s perception of a building, whether a beloved local bakery or a haunted mansion, can influence its role in the story and shape the readers’ attitudes towards it.

21. By Ornamentation and Artistry

Buildings can be embellished with diverse forms of ornamentation, from intricate carvings to frescoes.

This decor often reflects the cultural and historical contexts, as well as the individual tastes of its creators.

A building adorned with gargoyles and flying buttresses, for example, might point towards Gothic influences.

• Baroque Churches : Filled with lavish ornamentation, gilded statues, and dramatic frescoes.
• Indian Temples : Carved with intricate sculptures depicting gods, goddesses, and tales from epics.
• Art Nouveau Buildings : Characterized by sinuous lines, floral motifs, and harmonious curves.

22. By Patronage or Ownership

The patron or owner of a building can provide essential insights into its style, purpose, and decor.

Palaces built by powerful rulers often reflect their ambitions, tastes, or the political needs of their time.

On the other hand, structures erected by philanthropists might emphasize utility and public welfare.

• The Medici family in Renaissance Florence sponsored numerous buildings that became masterpieces of their era.
• The Rockefeller Center in New York, financed by the Rockefeller family, is a beacon of art deco design and urban planning.

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

Describing a building by its movement aligns it with specific philosophies, materials, and designs.

The minimalist, functional approach of the Bauhaus contrasts with the ornate designs of the Rococo.

• Bauhaus : Emphasizes functionality and eschews unnecessary ornamentation.
• Rococo : Known for its playful, whimsical, and intricate designs, often in pastel colors.

24. By Social and Economic Status

Buildings can often depict the socio-economic status of their inhabitants or the region they’re located in.

Mansions, penthouses, and gated communities often exude opulence.

In comparison, slums, tenements, and worker cottages might highlight poverty or the working-class struggles.

Examples: The elegant townhouses of London’s Belgravia versus the narrow, crowded lanes of Dharavi in Mumbai.

25. By Sensory Appeal

Beyond sight, buildings can be described by how they appeal to other senses.

The scent of aged wood in a historic home, the touch of cool marble underfoot in a palace, or the distant sounds echoing through a vast cathedral can make descriptions more immersive.

• The warm, inviting scent of freshly baked bread from a French bakery.
• The gentle, rhythmic tapping of rain on a tin-roofed cottage.

26. By Folklore or Legend

Some buildings are shrouded in myths, legends, or local tales.

A castle might be infamous for its ghostly residents, or a historic home might be revered as a hero’s birthplace.

Such tales add depth, intrigue, and cultural context.

• The legend of the Tower of London’s ravens, suggesting the kingdom’s fall if they ever leave.
• The lore surrounding Transylvania’s Bran Castle, often linked with the Dracula legend.

27. By Climate Adaptation

Buildings can be designed or modified to adapt to their climatic conditions.

A desert home might have thick walls to keep the interiors cool, while houses in tropical regions might feature wide verandas and high ceilings for ventilation.

• The igloos of the Arctic, built from blocks of snow.
• Traditional Arabian homes with wind towers for natural cooling.

28. By Relation to Other Structures

The juxtaposition of a building with its neighboring structures can offer rich contrasts or harmonies.

A medieval church beside a modern mall might highlight the city’s layered history or the interplay of the sacred and the commercial.

• The Flatiron Building in New York, with its unique triangular shape, set against the backdrop of modern skyscrapers.
• Rome’s Pantheon, an ancient temple, surrounded by renaissance buildings and modern cafes.

29. By Adaptive Reuse

Old structures might be repurposed for new functions, preserving their history while adapting to contemporary needs.

Warehouses transformed into lofts, churches turned into bookshops, or palaces renovated into hotels.

Transformations show the evolving narratives of buildings.

• The Tate Modern in London, once a power station.
• Book and Bed Hostels in Tokyo, combining bookshops with sleeping quarters.

30. By Emotional Resonance

How does a building make one feel?

Describing the emotional response it evokes can be more powerful than detailing its physical attributes.

A derelict asylum might exude eeriness, while a childhood home could evoke nostalgia.

• The somber, reflective atmosphere of the 9/11 Memorial.
• The joy and wonder of entering the whimsical world of Gaudí’s Casa Batlló in Barcelona.

31. By Historical Events

Many buildings carry the weight of significant historical events.

These events can cast a long shadow over the building’s atmosphere and its place in society.

For instance, a palace that was the site of a famous treaty signing or an assassination takes on the weight and significance of those events, shaping how one views and describes it.

The mere mention of such a building might evoke a vivid picture in the reader’s mind, filled with the drama and emotion of the past.

• The Palace of Versailles in France, which witnessed numerous royal dramas and the signing of the Treaty of Versailles.
• Ford’s Theatre in Washington D.C., forever remembered as the assassination site of President Abraham Lincoln.

32. By Foundation

The foundation of a building is its bedrock, dictating its stability, longevity, and sometimes even its aesthetic appeal.

It speaks volumes about the building’s resilience, design intentions, and the environment it’s in.

Different terrains require different types of foundations.

A building’s foundation can indicate whether it’s designed to withstand earthquakes, floods, or other environmental factors.

• Stilt homes in flood-prone areas, raised above ground level, showcase the adaptation to the local environment.
• Buildings in earthquake-prone regions like Japan might have deep foundations and reinforced pillars to absorb shocks.

33. By Roof

Roofs provide shelter but also contribute to a building’s identity.

They often serve as an architectural highlight or adaptation to the climate of a region.

A roof can be symbolic of a region’s architectural history or a practical response to weather conditions. It can be decorative or functional, or both.

• The distinct pagoda-style roofs in ancient Chinese architecture, with their upturned eaves.
• Thatched roofs of English cottages, providing insulation and showcasing a rustic charm.

34. By Landscape Integration

How a building integrates or stands out from its surrounding landscape can be a focal point of description.

A mansion atop a hill overlooking a town tells a story of dominance or isolation, while a camouflaged cabin in the woods speaks of retreat and harmony with nature.

• Machu Picchu in Peru, a stone city seamlessly integrated into the mountainous terrain.
• Cliffside dwellings like the Hanging Temple in China, defying gravity and blending with the vertical landscape.

35. By Socio-political Context

Architecture often mirrors the socio-political climate of its time.

Structures built during totalitarian regimes might exude power and intimidation, while those from a renaissance period might reflect hope, curiosity, and the human spirit.

Describing buildings within this context can enhance the depth of a story, setting the stage for the characters’ challenges and triumphs.

• The grandeur of Stalinist architecture, like the Seven Sisters in Moscow, representing power and state dominance.
• The democratic openness of city halls and public squares in many European cities, symbolizing public participation and freedom.

36. By Architectural Philosophy

Some buildings are constructed based on specific architectural philosophies or principles.

Perhaps the Japanese philosophy of “Wabi-sabi” celebrating imperfection or the Modernist mantra “form follows function.”

These guiding principles can be a unique way to delve into the building’s essence.

• Fallingwater by Frank Lloyd Wright, embodying the philosophy of organic architecture.
• The grid-like simplicity of De Stijl architecture , as seen in Rietveld Schröder House.

37. By Spiritual or Religious Significance

Many structures are steeped in spiritual or religious significance, making them more than just brick and mortar.

Temples, churches, mosques, and other religious edifices often come loaded with symbolic elements, rituals, and an aura of reverence.

• The Notre-Dame Cathedral i n Paris, with its Gothic spires, rose windows, and religious relics.
• The intricately carved Jain temples of India, representing non-violence and respect for all living beings.

38. By Reflection of the Times

Architecture can be a mirror to the prevalent trends, technology, and societal values of its era.

A post-war building might carry elements of resilience and simplicity.

Structures from a prosperous era might, instead, exude opulence and flamboyance.

• Art Deco buildings of the Roaring Twenties, like the Chrysler Building in New York, symbolizing prosperity and technological progress.
• The austere, functional buildings of post-World War II Europe, reflecting the continent’s recovery phase.

39. By Personal Stories and Anecdotes

Every building might have personal stories or anecdotes linked to it.

These tales, whether of love, tragedy, triumph, or everyday life, can turn a mundane structure into something special.

A house might be remembered for the family feuds it witnessed, or a bridge might be iconic for a legendary love story.

• The Romeo and Juliet balcony in Verona, believed to be the site of the famous Shakespearean love story.
• The childhood homes of famous personalities, like Mozart’s Geburtshaus in Salzburg, which tells tales of prodigious talent and early beginnings.

40. By Flooring

Flooring can reflect the luxury, practicality, or cultural elements of a building.

It plays a significant role in interior aesthetics and user comfort.

The choice of flooring material, its texture, and design can say a lot about the purpose of a room and the building’s overall theme.

• Design: The intricately designed marble floors of palaces, indicating opulence and grandeur.
• Material: Bamboo or tatami mat flooring in traditional Japanese homes, bringing forth an essence of simplicity and nature.

41. By Urban vs. Rural Setting

The setting of a building, whether in a bustling urban environment or a serene rural backdrop, affects its architecture, materials used, and its overall ambiance.

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

• The compact, upward-stretching skyscrapers of Manhattan versus the sprawling ranches of Montana.
• Ancient European farmhouses nestled in valleys versus modern urban apartments with their balconies facing busy streets.

42. By Ecological Impact

With the rising emphasis on sustainability, many buildings are now designed with their ecological footprint in mind.

Consider green roofs and walls to structures entirely powered by renewable energy.

There’s a growing trend towards eco-friendly architecture.

• The Bullitt Center in Seattle is called the world’s most eco-friendly office building.
• Ancient cliff dwellings, which utilized natural rock formations to maintain interior temperatures and minimize impact on the environment.

43. By Underground Space

A building’s underground space can reveal hidden functions, histories, or layers of utility that aren’t immediately visible on the surface.

Basements, cellars, underground bunkers, or parking spaces can add layers of mystery, function, or historical depth.

• Ancient catacombs or crypts beneath churches, like the Catacombs of Paris, harboring history and tales of the departed.
• Modern skyscrapers with multiple levels of underground parking and utility spaces, showcasing urban space optimization.

44. By Human Interaction

How people interact with a building can be a powerful descriptor.

Are its halls always crowded?

Do children play in its courtyards? Is it a place of solitude or social interaction?

Such descriptions bring the building to life, emphasizing its role in the community.

• The lively bustle of Grand Central Terminal in New York, with commuters rushing, tourists marveling, and couples reuniting.
• The tranquil corridors of monasteries, where the only sounds might be the soft footsteps of monks.

45. By Technological Advancements

In the modern age, buildings can be described by the technology they incorporate.

Smart homes, buildings with integrated AI systems, or structures with advanced security systems reflect the advancements of the age.

• The Edge in Amsterdam, touted as the world’s smartest building, where even the coffee machines are connected to the internet.
• Historical aqueducts and water systems, showcasing the engineering prowess of ancient civilizations.

46. By Adaptability and Flexibility

Some buildings are designed to be adaptable to different needs over time.

These structures might have movable walls, transformable spaces, or modular designs that can evolve with changing requirements.

• The Habitat 67 complex in Montreal, where prefabricated modules can be reconfigured.
• Japanese homes designed with large open spaces that can serve multiple purposes, from living rooms in the day to sleeping areas at night.

47. By Fragrance and Aroma

Though subtle, the distinctive smells associated with certain buildings can paint a vivid picture.

A library’s musty scent, the fresh aroma from a bakery, or the mix of incense in a temple can transport the reader to the location instantly.

• The cedarwood fragrance permeating ancient temples in Kyoto.
• The unmistakable scent of chlorine in indoor swimming complexes.

48. By Security Features

Security features can provide insights into the importance, vulnerability, or the treasures a building holds.

It can also reflect the socio-political environment of the locale.

A building heavily fortified indicates its importance or the potential threats it might face, whereas minimal security might indicate peace, openness, or a lack of valuable contents.

• The Buckingham Palace with its guards, high walls, and surveillance systems, highlighting the importance and the need to protect the monarchy.
• A quiet, open-plan library in a small town, with just CCTV cameras, showcases the trust in the community and the open access to knowledge.

49. By Mystique and Legends

Every region has its tales, its myths, and sometimes these stories are intrinsically tied to certain structures.

A haunted house, a castle rumored to have hidden treasures, or an inn with tales of historical figures stopping by can add a layer of mystique and depth to the description.

• The Tower of London, with its many ghostly tales including that of Anne Boleyn.
• Château de Brissac in France, also known as the “Giant of the Loire Valley,” renowned for its ghost, “la Dame Verte” or the Green Lady.

50. By Seasons and Weather

The way a building interacts with different seasons can be enchanting.

How it stands resilient during winter storms, becomes enlivened by spring blossoms, offers shade in summer, or is framed by autumn leaves can bring a dynamic quality to descriptions.

• Neuschwanstein Castle in Germany, often pictured blanketed in winter snow, looking like a fairy-tale come alive.
• Traditional Japanese homes with engawas (verandas) designed to appreciate seasonal changes, especially the sakura bloom in spring.

51. By Movement and Dynamics

While buildings are inherently static, the environment around them isn’t.

Describe how shadows move across a structure during the day, how it appears through the mist, or how its reflection dances on water.

These details can capture a building’s dynamic interplay with the environment.

• The play of sunset hues on Petra’s Al-Khazneh in Jordan, making the ancient rose-red city look aflame.
• The Marina Bay Sands hotel in Singapore, with its surrealistic appearance as it reflects on the bay waters.

52. By Proportions and Geometry

A building’s proportions, symmetry, or lack thereof, and its geometrical design elements can serve as potent descriptors.

They can convey balance, chaos, grandeur, or coziness, depending on the design.

• The perfectly symmetrical facade of the Taj Mahal in India, representing balance and beauty.
• The twisted and unconventional design of the Dancing House in Prague, which challenges traditional architectural norms.

53. By Hidden or Secret Elements

Every building might have its hidden nooks, secret passages, or lesser-known elements.

Describing these can add an element of intrigue and adventure to the narrative.

• The hidden chambers and passageways of Hampton Court Palace in England.
• The concealed courtyards of Marrakech’s riads, which offer an oasis of calm in the midst of the city’s hustle.

54. By Time of Day

The time of day can drastically change how a building is perceived.

Dawn might cast a soft golden glow, midday could highlight the structure’s magnificence under bright light.

Dusk might lend a serene hue, while nighttime could unveil a structure illuminated in artificial lights.

• Eiffel Tower in Paris, which transforms from an iron lattice structure in the day to a sparkling jewel at night.
• Ancient ruins like Stonehenge, which take on a mystical aura during the solstice sunrise.

55. By Parking

Parking can offer a unique perspective on the accessibility, modernity, and practical aspects of a building.

A skyscraper might have a multi-level underground parking facility, while a countryside inn might just have a gravel lot.

The type and style of parking can shed light on the type of people frequenting the building and its location.

Parking is a functional aspect that often gets overlooked.

Yet, it can provide insights into the modern infrastructure and the building’s capacity to accommodate visitors.

• The Burj Khalifa in Dubai, known for its expansive parking decks, indicative of the structure’s modernity and the bustling crowd it attracts.
• A centuries-old church in a European town, with only a cobblestone path leading up to it and no dedicated parking, emphasizing its age and the pedestrian nature of the locale.

56. By What Is Missing

Sometimes, what a building lacks can be as telling as what it includes.

The absence of certain features can highlight its history, purpose, or the socio-economic conditions of its residents.

Absence can be telling. A building missing windows might suggest a need for defense or privacy in historical times.

Lack of modern amenities might indicate either a commitment to maintaining historical authenticity or a lack of resources.

• Castles like the Alhambra in Spain, where certain decorative elements are conspicuously absent due to religious beliefs of the Moors.
• An old house in a rural village, devoid of any electronic fixtures or modern plumbing, hinting at a simpler time or economic constraints.

57. By Literary Genre

Buildings can be described in a style reminiscent of different literary genres.

A haunted house might be described in a gothic or horror style, a futuristic building in a sci-fi manner, or an old mansion in a romantic or historic style.

Literary genres come with their own set of conventions, moods, and themes.

Utilizing these can offer a distinctive lens through which to view and describe a building, thereby setting a tone that aligns with the narrative’s intent.

• An abandoned asylum, its corridors echoing with eerie silences and shadows, drawing from horror literature.
• A building with sleek curves, neon-lit facades, and hovering platforms, reminiscent of science fiction settings like Blade Runner.

50 Words to Describe Buildings

Here is a list of words to describe buildings in your stories, reports, product profiles, and more:

• Dilapidated
• Minimalistic
• Symmetrical
• Breathtaking
• Picturesque
• Verdant (if covered with plants)
• Cobblestoned
• Flourishing

25 Phrases to Describe Buildings

Next, let’s look at some of the best “starter” phrases to use when you need to describe buildings in writing.

• Standing tall against the horizon
• Whispers of bygone eras
• A beacon of modernity
• The touch of nature’s embrace
• Frozen in time
• A dance of shadows and light
• Bearing the weight of history
• A testament to innovation
• Merging tradition and modernity
• Clinging to its past
• Resilient against the elements
• Melting pot of architectural styles
• Crafted with meticulous precision
• Heralding a new age
• Cradled in the lap of nature
• Drawing eyes skyward
• Seamlessly blending with its surroundings
• Shrouded in tales and mysteries
• Rising like a phoenix
• A canvas of artistic expression
• Carved with legends
• Keeping pace with the future
• Holding the stories of centuries
• Echoing the footsteps of the past
• A juxtaposition of epochs

Check out this video about how to describe buildings in writing:

Three Full Building Descriptions

I don’t know about you but I love to see full examples – especially when it comes to writing tips and techniques.

Therefore, here are three examples for how to describe buildings in writing.

The Old Manor House

Nestled on the outskirts of the town, the Old Manor House stands as a silent sentinel of the past.

Its weathered stone walls and time-worn wooden beams whisper tales of bygone eras. The structure, with its vast corridors and winding staircases, holds an enigmatic charm. Ivy covers much of its facade, lending it a verdant embrace.

The large, towering oak trees around it act as guardians, their branches swaying gently with the wind.

Here, every creak of the floorboard and rustle of the leaves seems to echo with stories waiting to be discovered.

Pinnacle Tower

Rising above the bustling city is the Pinnacle Tower, a beacon of modernity.

Its sleek, reflective glass surface mirrors the ever-changing skyline. As the sun sets, the tower transforms into a luminous gem, its lights dancing amidst the city’s constellation. Designed with innovative architecture, it stands not just as a workplace but a testament to human achievement and the possibilities of the future.

Its top floor offers a panoramic view, making the chaotic streets below seem like a rhythmic, orchestrated play.

Lilac Cottage

Tucked away in a quiet lane, the Lilac Cottage is the epitome of quaint charm.

With its cobblestoned pathway leading to a blue wooden door, and windows framed by blooming flower boxes, the cottage seems straight out of a storybook. The white picket fence and the small garden, bursting with colors, add to its picturesque beauty.

Inside, the intimate space, with its wooden furniture and lace curtains, radiates warmth and comfort.

The scent of freshly baked bread wafts from the kitchen, promising a sanctuary of homely delights.

Final Thoughts: How to Describe Buildings in Writing

Each building has stories etched into its walls, stories of the hands that built it, the eras it survived, and the people who occupied it.

By employing diverse descriptive techniques, writers can unearth and convey these tales, making structures more than just static edifices.

We have lots of other articles about how to describe people, places, and things in writing.

Check out a few of the others before you go :).

Related Posts:

• How to Describe a City in Writing (100+ Best Examples)
• How To Describe a House in Writing (21 Tips for Beginners)
• How to Describe Mountains in Writing (21 Tips & Examples)
• 400+ Words to Describe a Flower Garden: Best Writers Guide

Brittancia (Architechure)

Writing Nestling

How To Describe Buildings In Writing (20 Important Steps & Adjectives)

In the world of literature, where every word is a brushstroke on the canvas of imagination, the art of describing buildings is a skill that can transform the mundane into the extraordinary.

Buildings, whether they rise defiantly into the sky or nestle quietly in the embrace of a rural landscape, hold the power to become not just settings but integral characters in the stories we tell.

Their architectural features, history, and the emotions they evoke can shape the mood, tone, and atmosphere of our narratives.

In this exploration, we embark on a journey to unravel the secrets of descriptive writing , discovering the nuances of observation, the magic of detail, and the alchemy of words that can bring buildings to life on the page.

So, let us delve into the art of describing buildings in writing , learning how to wield language as a tool to craft vivid, evocative, and unforgettable architectural portraits.

Table of Contents

How To Describe Buildings In Writing

Describing buildings in writing can be a detailed and creative process. Here’s a step-by-step guide on how to do it effectively:

Observe Closely

Begin by closely observing the building you want to describe. Take note of its architectural style, materials, colors, and any unique features that stand out.

Gather Information

Research the building’s history, purpose, and any interesting anecdotes or facts about it. This will help you add depth to your description.

Start with an Introduction

Begin your description with a captivating introductory sentence or paragraph that sets the tone and establishes the building’s significance.

Focus on Exterior

Describe the building’s exterior in detail. Mention its size, shape, and overall design. Discuss the architectural elements such as columns, windows, doors, and any decorative elements.

Detail Materials

Note the materials used in construction, whether it’s brick, stone, glass, or something else. Describe the texture and color of these materials.

Discuss Surroundings

Mention the building’s surroundings, including its location in the city or landscape. Describe how it fits into its environment.

Emphasize Unique Features

Highlight any unique or distinctive features that make the building special. These could include ornate carvings, a modern facade, or historical significance.

Interior Description

If applicable and possible, describe the interior of the building. Discuss the layout, decor, and any remarkable details like chandeliers, artwork, or furniture.

Capture Atmosphere

Try to capture the atmosphere or mood the building conveys. Is it imposing, welcoming, historic, or futuristic?

Use Sensory Language

Engage the reader’s senses by using descriptive language that appeals to sight, sound, touch, smell, and even taste if relevant. For example, describe the sound of footsteps echoing in a grand marble foyer.

Tell a Story

Weave a narrative into your description. Share stories or anecdotes related to the building, its construction, or its historical significance.

Create a Vivid Picture

Use vivid and imaginative language to help the reader visualize the building. Paint a picture with your words.

Maintain a Clear Structure

Organize your description logically, perhaps by starting from the exterior and moving to the interior, or by arranging details from top to bottom or front to back.

Revise and Edit

After writing your description, revise and edit it for clarity, conciseness, and coherence. Remove any unnecessary details and refine your language.

Read your description aloud to ensure it flows well and sounds appealing.

Seek Feedback

If possible, have someone else read your description and provide feedback. They may offer valuable insights or catch errors you missed.

Polish and Finalize

Make any final revisions based on feedback and your own assessments. Ensure that your description is engaging and free from errors.

Include a Conclusion

Wrap up your description with a concluding paragraph that summarizes the building’s significance or impact.

Cite Sources

If you used any sources for information or historical context, make sure to properly cite them.

Before publishing or sharing your description, carefully proofread it one last time to catch any remaining errors.

Remember that effective building descriptions not only convey physical details but also evoke emotions and convey a sense of the building’s place in history and culture.

Creative Adjectives To Describe Building

Sleek Skyscraper Adjectives: Futuristic, glass-clad, towering, modern, shimmering

Historic Castle Adjectives: Majestic, medieval, formidable, timeless, grand

Quaint Cottage Adjectives: Charming, cozy, picturesque, rustic, idyllic

Innovative Office Complex Adjectives: Cutting-edge, sustainable, dynamic, collaborative, hi-tech

Minimalist Residence Adjectives: Contemporary, streamlined, efficient, sophisticated, uncluttered

Gothic Cathedral Adjectives: Ornate, sublime, awe-inspiring, gothic, intricate

Art Deco Apartment Building Adjectives: Glamorous, vintage, luxurious, geometric, iconic

Floating Pavilion Adjectives: Ethereal, innovative, floating, transparent, serene

Organic Architecture Adjectives: Harmonious, nature-inspired, organic, sustainable, flowing

Futuristic Eco-Tower Adjectives: Sustainable, energy-efficient, avant-garde, green, cutting-edge

The Basics of Describing Buildings

Describing buildings is more than just painting a picture with words; it’s an art of unveiling the hidden stories etched into bricks and mortar. It’s about summoning the essence of a structure, conjuring whispers of its past and the promises of its future.

The basics of this craft involve peeling back the layers of stone, concrete, or wood to reveal the soul of a building. It’s not merely about what meets the eye but how it meets the soul.

The play of light on arches, the whispered secrets of creaking floorboards, and the silent history echoing from faded facades—all these facets weave together to create a symphony of words that immerses readers in the very heart of the architectural wonder you wish to describe .

So, grab your literary chisel and let’s embark on an expedition through the maze of bricks and beams, unearthing the beauty and intrigue that lie within.

Building a Descriptive Vocabulary

Building a descriptive vocabulary is like collecting a treasure trove of words, each one a shimmering gem waiting to adorn your writing.

It’s the art of transforming ordinary adjectives into enchanting emblems, adverbs into magic wands, and metaphors into bridges between the known and the unknown.

As a writer, your palette is language, and with each word you add, your literary canvas becomes more vibrant and alive. These words are your architectural tools, allowing you to construct worlds within worlds, crafting prose that lingers in the minds of your readers like an unforgettable melody.

So, embark on this lexical adventure, for in the realm of descriptive vocabulary, you are the alchemist, turning words into pure literary gold.

The art of showing, not telling

The art of showing, not telling, in writing is akin to inviting the reader to be an active participant in the story . Instead of simply spoon-feeding information, it’s about creating a rich tapestry of details, actions, and emotions that allow readers to draw their own conclusions and immerse themselves deeply in the narrative.

It’s the difference between saying, “She was nervous,” and vividly depicting her tapping foot, trembling hands, and the stammer in her voice as she tried to explain herself.

When writers master this technique, they open a door to a more engaging and evocative storytelling experience, where readers can feel, see, and hear the story as if they were right there, peering into the characters’ souls.

In essence, it’s the magic of letting the reader discover the story, one carefully woven thread at a time.

Techniques for Describing Different Types of Buildings

Unlocking the techniques for describing different types of buildings is akin to wielding a set of keys to a captivating world of architectural diversity.

Each building, whether it’s a humble cottage or a towering skyscraper, has its own unique personality waiting to be unveiled through your words.

It’s about the careful selection of your descriptive tools, crafting descriptions that transform simple bricks and mortar into living, breathing characters within your narrative.

Just as you would use a different brushstroke for a tranquil rural landscape compared to a vibrant urban scene, your words must adapt to the architecture at hand.

From the quaint charm of residential structures to the imposing grandeur of historic landmarks, these techniques empower you to capture the essence of buildings, turning them into protagonists in their own right, ready to leave a lasting impression on your readers’ minds.

So, embark on this architectural adventure and let your words become the architectural blueprints of your storytelling dreams.

Residential structures

Residential structures are the silent witnesses to the intimate stories of our lives. Each one has its own character and charm, whether it’s the cozy embrace of a cottage nestled among ancient trees, the modern elegance of a city apartment with a skyline view, or the timeless charm of a suburban home with a white picket fence.

Describing residential structures allows writers to capture the heart of daily life, where the walls hold the echoes of laughter, tears, and countless memories.

From the warm glow of a hearth in a rustic cabin to the sleek lines of a contemporary penthouse, residential buildings offer a canvas upon which authors can paint the dreams and aspirations of their characters, making them feel like homes to both the reader and the inhabitants within the pages of a story.

Commercial and industrial buildings

Commercial and industrial buildings stand as the beating heart of bustling economies and innovation hubs. These architectural giants are not just structures; they are the pulse of productivity and commerce. From the towering skyscrapers that house corporate empires to the sprawling warehouses that harbor the engines of industry, they symbolize the relentless march of progress.

Describing commercial and industrial buildings grants writers the opportunity to evoke the dynamic energy of the business world, where glass and steel frames house the dreams and endeavors of countless individuals.

It’s in these structures that the spirit of ambition, innovation, and hard work is encapsulated, where the hum of activity reverberates through the walls and the promise of success lingers in the air.

Whether in the gleaming storefronts of high-end boutiques or the labyrinthine depths of manufacturing plants, these buildings become canvases on which writers can paint the intricate tapestry of modern life, where commerce and creativity intersect.

Historic or landmark buildings

Historic and landmark buildings are the time capsules of our shared human history, standing proudly as enduring testaments to the past.

These architectural marvels are like guardians of memory, their weathered facades whispering tales of bygone eras. Whether it’s a medieval castle with its imposing battlements or an ornate cathedral with its soaring spires, each of these structures carries within it a unique narrative of culture, heritage, and evolution.

Describing historic and landmark buildings is akin to unlocking the doors of time, allowing writers to transport readers to different epochs, where the echoes of history resonate through the stones and arches.

The intricate carvings, stained glass windows, and intricate masonry work become not just decorative details but windows into the souls of generations past, reminding us of the enduring power of human craftsmanship and imagination.

Describing Buildings in Different Settings

Describing buildings in different settings is like navigating a vast and ever-changing landscape of architectural dreams. It’s an art of adaptation, where the buildings become chameleons, seamlessly blending into their surroundings and reflecting the essence of the environment they inhabit.

Whether it’s the steel and glass monoliths that rise from the concrete canyons of urban jungles, the rustic cottages nestled in the tranquil embrace of countryside meadows, or the fantastical spires that punctuate the skyline of otherworldly realms, each setting demands a unique lexicon of words and emotions to convey its character.

As a writer, you become an architect of words, crafting descriptions that breathe life into structures, making them not just a part of the backdrop, but integral players in the grand symphony of your storytelling.

It’s a journey that leads you through a myriad of landscapes, from the familiar to the fantastical, and in each one, the buildings become not just structures but portals into the very soul of the setting itself.

Painting a picture of idyllic countryside scenes

Painting a picture of idyllic countryside scenes is like dipping one’s brush into the palette of tranquility and serenity.

It’s the art of summoning the essence of pastoral beauty, where rolling hills meet endless horizons, and quaint cottages nestle amidst fields of wildflowers.

Describing the countryside is an invitation to embrace the symphony of nature’s colors and sounds, from the golden hues of sun-kissed wheat fields to the gentle murmur of babbling brooks.

The landscape comes alive with the vibrant characters of grazing cattle, fluttering butterflies, and the whispered secrets of ancient oaks. Each stroke of description is a stroke of connection to a simpler, more harmonious existence, where the rhythms of life are dictated by the rising sun and the setting moon.

In these scenes, writers have the power to transport readers to a realm where time slows, and the heart finds solace in the tranquil embrace of nature’s perfection.

Enhancing world-building in speculative fiction

Enhancing world-building in speculative fiction is akin to wielding a literary wand, conjuring realms that exist beyond the boundaries of the ordinary.

It’s the craft of architecting entire universes from the foundations of imagination, layering intricate details upon the blank canvas of the mind.

In these fantastical worlds, the buildings are not mere structures but living organisms, reflecting the very essence of the setting.

Whether it’s floating cities among the clouds, ancient temples infused with magic, or futuristic metropolises teeming with advanced technology, each architectural element becomes a brushstroke on the canvas of the reader’s mind.

As writers, we have the privilege of sculpting landscapes that defy reality, offering readers the opportunity to explore the infinite possibilities of the human imagination.

In this realm, buildings are not just bricks and mortar; they are keystones to unlocking the secrets of the fantastical realms we create, enriching our stories with depth and wonder.

Incorporating Building Descriptions into Your Writing

Incorporating building descriptions into your writing is akin to weaving an intricate tapestry of time, place, and emotion. It’s the art of making architecture a character in your narrative, breathing life into bricks and mortar.

These descriptions are not mere backdrops; they are the stage upon which your story unfolds. Like a skilled director, you choose the lighting, the angles, and the props to evoke the desired emotions and reactions from your readers.

Whether it’s the haunting elegance of a decrepit mansion, the gleaming promise of a futuristic cityscape, or the rustic charm of a countryside cottage, each building holds the potential to engage your readers on a visceral level.

It’s in these meticulously crafted descriptions that your story’s setting becomes a character in its own right, shaping the plot, influencing the mood, and leaving an indelible imprint on the reader’s imagination.

So, as a writer, remember that in the world you create, buildings are not just structures; they are the silent narrators of your tale, and through your words, they whisper secrets and dreams that captivate your audience.

Case Studies and Examples

Case studies and examples are the breadcrumbs on the path to mastery, the flashlight in the dark cave of understanding.

They’re the vivid stories that breathe life into theory, turning abstract concepts into tangible realities. Like windows into different worlds, they invite us to peer through the glass and see how ideas take shape in the messy, unpredictable terrain of real life.

They’re not just data points or anecdotes; they’re the sparks of insight that ignite our curiosity and illuminate the path forward.

Whether it’s exploring the triumphs and tribulations of historical figures, dissecting the strategies of successful businesses, or delving into the intricate dance of cause and effect in science, case studies and examples are the narrative threads that weave the fabric of knowledge.

So, let them be your compass, your inspiration, and your guide as you embark on your journey of discovery and enlightenment.

Frequently Asked Questions (FAQ) about How To Describe Buildings In Writing

What is the importance of describing buildings in writing.

Describing buildings in writing can provide readers with a vivid sense of place, history, and atmosphere. It enhances storytelling, creates visual imagery, and sets the scene in various forms of literature and communication.

Can you describe a building’s interior as effectively as its exterior?

Yes, describing a building’s interior can be just as effective. You can discuss its layout, decor, furnishings, and ambiance to create a more immersive and comprehensive description.

Should I focus on historical or architectural details when describing a building?

The choice depends on your purpose. If you want to emphasize the building’s historical significance, focus on its backstory. For architectural appreciation, delve into its design, materials, and unique features.

How do I make my building description more engaging to readers?

Engage readers by using sensory language, evoking emotions, and telling stories related to the building. Engaging descriptions appeal to sight, sound, touch, smell, and even taste.

What’s the best way to organize a building description?

Organize your description logically, often starting with the exterior and moving to the interior. Alternatively, you can structure it by detailing elements from top to bottom, front to back, or in a sequence that makes sense for your narrative.

Can I use metaphors and similes to describe buildings?

Yes, metaphors and similes can be powerful tools to make your descriptions more vivid. For example, you can compare a modern skyscraper to a towering glass monolith.

How do I balance detail with conciseness in building descriptions?

Balance is key. Include enough detail to paint a picture, but avoid overwhelming the reader with excessive information. Focus on the most significant and impactful elements.

Should I include historical anecdotes when describing a building?

Including historical anecdotes can add depth and interest to your description. They can highlight the building’s place in history and make it more engaging for readers.

Can I use a building’s description as a setting in my fiction writing?

Absolutely! Building descriptions can serve as essential settings in fiction, enhancing the story’s atmosphere and providing a backdrop for events and character interactions.

Are there any common mistakes to avoid when describing buildings in writing?

Avoid using overly technical jargon that might confuse readers. Also, be cautious of being too repetitive or providing too much information. Strive for clarity and balance in your descriptions.

Can I describe fictional or imaginary buildings using the same principles?

Yes, you can apply the same principles to describe fictional or imaginary buildings. The key is to create a detailed and immersive description that helps readers visualize and connect with your imaginary world.

How do I ensure my building description stands out and is unique?

To make your description unique, focus on the building’s distinctive features, its emotional impact, and the stories it tells. Avoid clichés and strive for originality in your language and perspective.

What’s the role of research in building description?

Research can provide historical context, interesting facts, and architectural details that can enrich your description. It adds authenticity and depth to your writing.

Can I use building descriptions in non-fiction, such as travel writing or journalism?

Yes, building descriptions are valuable in various forms of non-fiction writing, especially travel articles, architectural reviews, and historical pieces. They help readers connect with the subject matter and provide valuable information.

Remember that effective building descriptions should not just inform but also engage and inspire readers, allowing them to form a deeper connection with the subject.

In the enchanting world of literary creation, where words are our palette and imagination knows no bounds, the art of describing buildings in writing stands as a testament to the richness of human expression.

Through this journey, we have explored the power of keen observation, the intricacies of detail, and the magic of language in bringing buildings to life within our narratives.

As writers, we now possess the tools to craft architectural masterpieces with words, forging connections between readers and the settings we create.

Whether we evoke the hustle and bustle of urban landscapes, the tranquility of pastoral scenes, or the grandeur of historic landmarks, our descriptions have the potential to captivate, resonate, and transport.

So, let us continue to embrace this craft, painting with our literary brushes, weaving buildings into the very fabric of our stories, and leaving indelible imprints of the worlds we create in the hearts and minds of our readers.

Related Posts:

• How To Describe A Village In Writing (10 Creative…
• How To Describe A House In Writing (11 Best Ways)
• How To Describe A Face In Writing (10 Significant Steps)
• How To Describe A City In Writing (21 Important Steps)
• How To Describe Good Food In Writing (15 Important…
• How To Describe A Dress In Writing (10 Best Tips)

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How do I write the sound of a door opening in letters?

Hi, everyone. I'm new to this subreddit, and thought it be helpful for the story I'm currently writing. But I need to know how to write out the sound of a door opening because I have no clue on how to do that.

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What are some words for sound coming from somewhere?

I am learning/ trying to write a novel but I'm facing this problem. Whenever sound comes from somewhere (for example, from behind a closed door), I don't know how to describe it. I just end up writing "came from behind the closed door." What are some better ways to write these? Another example:

Suddenly, a loud shriek came from behind the locked door.

• Hi! Let's clarify, you have no issue with the type of the sound ("shriek"), but only with probable location ("behind the locked door")? –  Alexander Commented May 20, 2022 at 17:32
• Yes. The sounds themselves don't matter. Its just how I present them. I can't good alternatives to sound coming from behind something or just somewhere. I just don't want to flat out write "the shriek came from behind the door " –  Arcweeb Commented May 20, 2022 at 19:51
• Oh yeah, one more thing. The place doesn't matter. Whether it be from behind somewhere or a tree. Basically, the character I'm following doesn't see the sound being made. Only hears it. And so, I have to write in that way. Sorry if I'm being confusing; I'm still getting used to all of this. –  Arcweeb Commented May 20, 2022 at 19:56
• Are you looking for alternate ways to say the same sort of thing? i.e. "there was a shriek from beyond the door"; "she heard a shriek through the door", ".. from the other room". Or do you want some other way to localize the sound? "There was shriek. Everyone looked toward the door." –  user54131 Commented May 21, 2022 at 19:43
• Both actually (leaning a little bit more toward the same sort of thing). Thanks for the examples. I'm baffled these didn't come to my mind. –  Arcweeb Commented May 22, 2022 at 12:03

2 Answers 2

I don't think there is anything wrong with saying that a noise came from somewhere. But I'm guessing you mostly find this boring. Usually, the source of a noise is either clear or not significant.

• Locate it by character action: The characters hear a rattle, and move towards the source of the sound, attempting to open the door which stubbornly resists all attempts to open. The characters face the door as the demonic wail howls.
• The Door is the source : The door whispers softly, or reverberates with the loud pounding. The frame rattles and shakes, and the door trembles.
• Colorful language: The hum emanates from the direction of the door. The whisper seems to creep out from under the door. The bang travels through the door like it wasn't there. The door holds back the horrifying sound.

Suddenly, an eldritch shriek curdled the air. I whisked around, but the room was empty... unless there was someone on the other side of my bedroom door.

<><><>

My hands flew to my ears at the sound of a scream overhead. Bethany glanced over from her salad, concerned. "You okay, dude?"

"Yeah. Did you hear that?"

"Hear what?"

I don't answer her. My eyes are fixed skyward, but whatever made the noise is already long gone.

The screaming follows me all day, belting out screeches at random times. Whether it's a hallucination or a ghost, I don't know, but it sure makes the school a whole lot more sinister.

Here are just some descriptions I came up with. Sound can be described in more than one way: pitch, volume, tone, direction, distance, how resonant it is, context, how the protagonist reacts, and how others react, to name a few. Instead of focusing only on where the sound is, perhaps you can try making it interesting by adding other important details. (Similes and metaphors, too, if they're not cliched)

I'm just a 15 y/o writer myself and this might not be professional advice, it' just my own opinion - but I hope you found this helpful! Have fun writing :D

• That's excellent advice! I'll try to implement these next time I'm writing. Thank you SO much. –  Arcweeb Commented May 21, 2022 at 9:13

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Search for creative inspiration

19,898 quotes, descriptions and writing prompts, 4,964 themes

door - quotes and descriptions to inspire creative writing

• banging doors
• doorbell sound
• festive doorway
• welcoming mat

The door stood as weathered shield, ever protecting from the seasonal storm-arrows.

For entrance to the house of peace, all require a familiar door; therein is the skill of the architect. Each sees only one entrance, the one love made especially for them.

The doorway was part of the smart house, it took your temperature as you passed through and gave a recommendation as to if you should stay home or were okay to socialise.

The door was there as if a dream had become solid, as if it had grown upon the hinges and blossomed into a comforting hue.

The door was a portal to something new, a good thing to enjoy or a challenge to make better. The only way to find out what kind of gift this would become was to reach out, open it and step in.

The doorway was the kind of blue summer flowers can become when they are wet with the lightest of rain.

The doorway stood there is if it were an invitation to a new adventure, a new challenge and new chance to earn the building of the hero self.

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• Inspirations

March 23, 2013

Writing: how to describe a room.

• Keep it simple.
• Talk about colors, patterns, decor, and unique architectural details, if they're relevant.
• Talk about furnishings and props, especially if characters use them.
• Talk about anything in the room if it reveals something about the characters within. 
• Talk about space.
• Talk about unique details that readers may not usually associate with a given place (especially for sci-fi and fantasy works, where the settings are purposefully different anyway).
• Describe it naturally with your own personal writing style and sensibilities.
• Get technical or overly-explicit.
• Divulge in unnecessary details.
• Tell about room's atmosphere or impression; show it instead.
• Overthink or overdo things.
• Dump details in one long paragraph.
• Describe things in a dull, dry, choppy, or uninteresting manner; use your natural narrative voice.
• Describe things that the reader will already assume for a given place, especially if such things don't contribute to the story.

16 comments:

This comment has been removed by a blog administrator.

i like ur writing style....

You are a great writer. I'll uses some of your examples in the future.

Brilliant, brilliant writer you are!

Thanks for this write up. Very well done.

Thank you. I came from Doug Walker's review of the second episode of Avatar: the Last Airbender where he talked about how the show makes you feel like you're in a room, and so I was wondering how one might do that in writing.

Thanks the writer

really helpfull thank you

Thanks, this has really been helpful.

This was really helpful thank you very much.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Description Entry: Bedrooms

October 4, 2008 by BECCA PUGLISI

bed, night stand, dresser, armoire, make-up table, desk and chair, picture frame, window, closet, mirror, bookshelf, clothes hamper, wastebasket, wall shelves, phone, lamp, computer, notepads, books, rug, curtains, shade/blinds…

female: frilly, flowery, lacy, soft, pink/purple/yellow, hearts, stuffed animals, make-up/hair products, perfume, decorative pillows, canopy bed, diary, fuzzy-topped pencils, nail polish, bracelets, bangles, earrings…

male: sports memorabilia, geometric, spartan, darker colors, rumpled bedsheets, clothes on the floor, messy, dusty, CD collection, posters of girls (beach babes, film stars, Army, Action movies), toy guns, airsoft guns, action figures…

Music blaring, murmur of TV or talking on the phone, laughter, tick of a clock, radio alarm, click of computer keys while IMing, cat or dog scratching to get in, trill of a cell phone, squeaky bed spring, whispering, outdoor sounds leaking in through…

Perfume, hairspray, nail polish, model glue, body spray, deodorant, clean linen, sweat, rotting food, bubblegum, fabric softener, dust, wet towels, a whiff of dinner cooking in the kitchen, a spicy cheese smell from an open bag…

Bubblegum, the bitter taste of hairspray, breath mints, peanut butter and jam sandwich on a plate, a banana, granola bar, sugary pop, water…

silky, clean sheets, the unwelcoming hardness of pressing the alarm button, cool, smooth desktop, fuzzy sweaters, itchy sweaters, slippery t shirts, rough Cotton jeans, cool walls, soft, sinkable bead, balling up paper, tossing it into a garbage bin…

Helpful hints:

–The words you choose can convey atmosphere and mood.

Example 1:  When I could put it off no more, I tiptoed into Great Aunt BeeBee’s room. The floor was cold and gritty, dust and crumbs and who knows what else clinging to my bare feet. My only light came from a slit between the sagging curtains at the window, the feeble brightness barely enough for me to make out anything. I crept closer, trying to not gag on the smell of sweat and sickness. On the floor beside the bed I could just make out a twisted lump of blankets, but I couldn’t get up the courage to touch it. Please don’t be dead, I thought. I strained my ears for the sound of her rusty breath, and again remembered the sickening thump that had woken me…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Simile)  I followed on Anna’s heels, catching the bedroom door seconds before it could slam in my face. Enraged, I sucked in a deep breath and pushed the door wide. My words curdled into nothing at the mess greeting me–clothes, text books and muddy shoes lay across the floor in knotted clumps, pages from a teen magazine peppered the walls and CDs marched across the unmade bed like a ticker tape parade…

Think beyond what a character sees, and provide a sensory feast for readers

Setting is much more than just a backdrop, which is why choosing the right one and describing it well is so important. To help with this, we have expanded and integrated this thesaurus into our online library at One Stop For Writers . Each entry has been enhanced to include possible sources of conflict , people commonly found in these locales , and setting-specific notes and tips , and the collection itself has been augmented to include a whopping 230 entries—all of which have been cross-referenced with our other thesauruses for easy searchability. So if you’re interested in seeing a free sample of this powerful Setting Thesaurus, head on over and register at One Stop.

On the other hand, if you prefer your references in book form, we’ve got you covered, too. The Urban Setting Thesaurus and The Rural Setting Thesaurus are available for purchase in digital and print copies. In addition to the entries, each book contains instructional front matter to help you maximize your settings. With advice on topics like making your setting do double duty and using figurative language to bring them to life, these books offer ample information to help you maximize your settings and write them effectively.

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers —a powerhouse online library created to help writers elevate their storytelling.

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Reader Interactions

April 16, 2015 at 8:35 pm

I’m not sure if I missed it or if its somewhere else on the website, but I’m looking for descriptive ideas for explaining the noises of a house at night. Specifically those, sort of, tinkling sounds of the materials expanding and contracting with the temperature. Any thoughts or directions on this would be hugely appreciated!!! 🙂

April 17, 2015 at 11:11 am

Hi, Elizabeth. We don’t have a thesaurus for noises, but you should be able to find many house sounds by looking at the different house-related entries in The Setting Thesaurus: attic, basement, bathroom, bedroom, etc. Each entry has a SOUNDS field; by looking through those entries, you might find the sounds that you’re looking for. Best of luck!

December 3, 2018 at 7:04 pm

i know its a little late but descriptives for what your looking for would be EX: hrough a window I could hear the risings and fallings of a conversation being held on a porch near the corner, chatting and yapping and playing and shrieking; a car passed on the street the creaking, the sea noises, and the night birds outside. or I was surrounded by the musty, oily, salty smell of the ship and the ocean, and realized how sharp one’s senses become in the dark. Every place has its own scent, a peculiar mixture of organic growth and human industry, of must, paint, wood and vermin.

July 19, 2014 at 10:50 pm

I hadn’t seen these entries yet! Now I REALLY want a setting set of books…. 😀

July 21, 2014 at 1:32 pm

You’re in luck, Kimbra! We’re working on the first draft of the Settings Thesaurus right now. No firm publication date yet, but we’ll place periodic updates here at the blog. You could also sign up for our free newsletter (link below), which will bring notifications about our upcoming books and other info right to your inbox :).

https://writershelpingwriters.net/newsletter-archive/

June 22, 2011 at 5:17 pm

It is possible we would, but if so it would be when (and if) we put the Setting Thesaurus into a book version. 🙂 So glad this is helpful to you! 🙂

June 22, 2011 at 11:33 am

I love your blog, thank you for pointing out the little things that go unobserved but are a great importance to each and everyone of our stories! By any chance would you be writing any of these for different time periods? Either way, thank you for the inspiration!

October 6, 2008 at 9:06 pm

Brilliant! This could actually double, somewhat, for a hotel room (with a few minor tweeks and add ons….smell…blech). Anyways, great stuff! Thanks for the inspiration!!

October 6, 2008 at 8:40 am

Boy do I know about bedrooms! My room was ALWAYS such a total and complete mess that my dad put a sign on my door that read, “Danger Disaster Area Three Feet Deep.” It remained on my door for many years.

October 5, 2008 at 11:10 am

*Gives some warm milk to PJ*

Thanks for coming over Rachel–we’re glad you found us!

October 5, 2008 at 12:02 am

Hey, wandered over from AW and poked around! These thesaurus posts are incredible. What a fantastic resource.

October 4, 2008 at 10:28 pm

I’m sleepy just reading it! Love this! Thanks!

October 4, 2008 at 11:46 am

I like the interior design mags too. I think it’s because I have a hard time imagining the potential of a room without some visual aids. I’m currently looking into remodling my kitchen, and my head reels at all the options and choices there are! Becca must be much better at this than I (and I wish she lived closer!) because she recently did a big reno in her new home.

Gutsywriter, one of the best things about this blog (and all online writing groups) is the ability to learn together. Becca and I have had such a great experience by pairing up and working through our writing woes, it was something we wanted to share on a bigger basis.

Each time we do an entry, we learn as we go, flexing the imaginative muscle to come up with descriptions and emotional actions that feel real.

October 4, 2008 at 10:49 am

Thanks for helping us again and again in our writing. It must take you a long time to put together your postings. A lesson plan in itself. I still have your emotional thesaurus on my laptop every time I rewrite a chapter and need more show and less tell.

October 4, 2008 at 9:35 am

This detail leaped out at me :

“the unwelcoming hardness of pressing the alarm button”

Sounds like a bedroom of the rich and famous. 🙂 I love looking at pictures of bedrooms in books on decorating and interior design and imagining how I’ll decorate my bedroom some day. Maybe I’ll have one of those low tables with padded tops as well.

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What are the onomatopoeia for opening and closing of a door (respectively)? [closed]

Example sentence:

From behind, I heard the _ and _ of a door.

What are those two words?

• single-word-requests

• 2 One could certainly be creak . –  Khuldraeseth na'Barya Commented Jun 30, 2017 at 1:54
• 1 Not everything has an onomatopoeia - perhaps woosh ? But that could be a door opening or closing. –  Elliott Frisch Commented Jun 30, 2017 at 2:38
• Opening a drawer doesn't have a distinctive sound, hence no distinctive word for it exists. Closing, however, falls within the phonosemantic range of the KL- assonance in English, which have to do with things being or moving together, frequently with considerable force applied, and often making a distinctive noise. See the Venn diagram for details. –  John Lawler Commented Feb 27, 2018 at 21:31

3 Answers 3

Consider the pull and thud of a door.

While pull isn't ordinarily considered onomatopoeia, its pronunciation is suggestive of the sound of air rushing through as a tightly-sealed door is opened.

• 1 Or slide and seal if the door is of the sliding variety. –  Lawrence Commented Jun 30, 2017 at 8:13

It depends on how the door was opened/closed. Potential words include

• 3 Yes. It also depends on the door—I have one that creaks no matter how careful I am; a very large and heavy door might thud; a really good, well-maintained door should be virtually silent; etc. –  1006a Commented Jun 30, 2017 at 3:29

Perhaps the sound of the door can be left up to the imagination of the reader? The writer has already deduced that the sounds are from a door, so the whole statement could be simply:

From behind, I heard the opening and closing of a door.

From behind, I heard the unlocking and opening of a door.

From behind, I heard the closing and locking of a door.

Otherwise, any sound associated with a door fits. For example:

From behind, I heard the creaking and slamming of a door.

• +1 for opening and closing which are as generic as the door the question asks about! –  Arm the good guys in America Commented Feb 27, 2018 at 20:45

Not the answer you're looking for? Browse other questions tagged single-word-requests or ask your own question .

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Creative writing: A knock at the door

An unexpected knock at the door snapped Katie out of her  bubble immediately. She wasn’t expecting any guests and Ben had keys. She wondered if maybe he had lost them . Little did she know that her past was coming back to haunt her , a past she had tried so hard to put behind her. But it didn’t matter how many roasts she cooked, or dinner parties she hosted or perfect  holiday photos they hung on the wall – What they did doesn’t just go away.   

She pe e ked through the curtains that covered the glass panels on the  door, expecting to see her husband standing there patiently.  Instead,  two strange men stood  with their shoulders slumped and tired looks on their faces, like the world was hanging over their heads.  Katie took a step back, straighten out her dress and  whacked her ever so fake welcoming smile onto her face. It was the smile she had managed to perfect over years of pretending to be someone and something she wasn’t. The smile she had  learnt  at such a young age .   

As she opened the door, the two men gave her a  pitiful  look ...  One no one had given her for quite  some time .   

“ Hello gentleman, how may I help? ”   She said, with her perfect smile still spread across her face.   

“Good evening  ma’am . Are you Katie Dawson?”    

“Yes, that is me” her mind was racing, desperately trying to guess who these two strange men that stood in front of her were – She didn’t like surprises. 

“Ma’am we are here regarding your husband” They both held up their badges at the same time, a routine that was very in sync from years on the job . A routine that never got any easier. Katie's heart was racing, the panic was setting in. Did they know? She wondered. She was already planning her escape.   

Her smile faded and  the look of horror spread across her face, but not out of worry for her husband… but worry for herself.  Millions of excuses and stories rushed through her mind as she tried to come up with a cover story, just like she had done before.  For now ,  she knew she needed to keep calm.   

“Is everything ok?”  She played the dutiful wife so perfectly, she had almost managed to fool herself for a while.   

“Ma’am I’m afraid we have recovered a body from the  Taradon  Lake that we believe is your husband”  he paused, giving her a moment to take it in.  This wasn’t the news Katie was expecting. A part of her was relieved , but another part of her was filled with fear. Had he found them?   

“What? How? Why?”  She placed her hand on her  stomach  and looked down at the floor, trying to disguise her fear with sadness.   

“ We believe someone may have shot your husband and then placed the body in the lake”  years on the job and this never got any easier for them.  Katie grabbed on to the door as her legs weakened under her. The once warm and welcoming house now felt cold and  isolating. The silence she had filled with singing now  echoed  painfully in her mind . And the smell of the stew she had spent so long preparing for her husband, now made feel sick.   

“Ma’am we are so sorry for your loss, this must be very difficult to hear”  It was, but not because she had just lost her husband. She worried for her own  safety; she knew she was next. Her past had come back to haunt  her,  and she knew it.  The voices of the detectives faded  as the silence in her home grew. She stepped back again and closed the door slowly, leaving them outside.  They had done so much to get here, to change who they were and to leave the past behind them, yet it wasn’t enough.  She didn’t know if she could do it again, especially not alone.   

“Ben I can’t do this, I can’t keep running” she gasped, breaking down into tears.  She wasn’t the strong woman she once  was;  she was worn out.   

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Novel writing ,

How to write descriptions and create a sense of place.

By Harry Bingham

Your first job as a storyteller is a simple one, and a crucial one. You have to get your passengers into your train – your readers into your story. Only then can you hope to transport them.

And that crucial first step doesn’t have much to do with characters or story or anything else.

What matters first is this: your fictional world has to seem real. It has to grip the reader as intensely as real life – more intensely, even.

Writing descriptions that  seem  vivid, with the use of evocative language, is therefore essential. The buildings, cities, places, rooms, trees, weather of your fictional world have to be convincing  there . They have to have an emphatic, solid, believable presence.

A big ask, right? But it gets harder than that.

Because at the same time, people don’t want huge wodges of descriptive writing. They want to engage with characters and story, because that’s the reason they picked up your book in the first place.

So your challenge becomes convincing readers that your world is real . . . but using only the lightest of touches to achieve that goal.

Not so easy, huh?

Start Early

Set the scene early on – then nudge.

It may sound obvious but plenty of writers launch out into a scene without giving us any descriptive material to place and anchor the action. Sure, a page or so into the scene, they may start to add details to it – but by that point it’s too late. They’ve already lost the reader. If the scene feels placeless at the start – like actors speaking in some blank, white room – you won’t be able to wrestle that sense of place back later.

So  start early .

That means telling the reader where they are in a paragraph (or so), close to the start of any new scene. That early paragraph needs to have enough detail that if you are creating a coffee shop, for example, it doesn’t just feel like A Generic Coffee Shop. It should feel like its own thing. One you could actually walk into. Something with its own mood and colour. One vivid descriptive detail will do more work for you than three worthy but colourless sentences.

And once, early in your scene, you’ve created your location, don’t forget about it. Just nudge a little as you proceed. So you could have your characters talking – then they’re interrupted by a waitress. Then they talk (or argue, or fight, or kiss) some more, and then you drop in some other detail which reminds the reader, “Yep, here we still are, in this coffee shop.”

That’s a simple technique, bit it works every time.

One paragraph early on, then nudge, nudge, nudge.

As the roughest of rough guides, those nudges need to happen at least once a page – so about every 300 words. If it’s natural to do so more often, that’s totally fine.

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Be Specific

Details matter! They build a sense of place like nothing else.

Gabriel García Márquez, opening  One Hundred Years of Solitude , introduces his village like this:

Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs.

Boom! We’re there.

In his world. In his village. Already excited to see what lies ahead.

And yes, he’s started early (Chapter 1, Page 1, Line 1). But it’s more than that, isn’t it? He could have written something like this:

Macondo was a village of about twenty houses, built on a riverbank.

I hope it’s obvious that that sentence hardly transports us anywhere. It’s too bland. Too unfocused. Too generic. There are literally thousands of villages in the world which would fit that description.

In short, what makes Marquez’s description so vivid is its use of telling detail. They’re not just houses, they’re  adobe  houses. The river doesn’t just flow over stones, its flows over  polished stones  that are  white and enormous, like  (wow!)  prehistoric eggs .

The sentence works so well because Marquez has:

• Created something totally non-generic
• Via the use of highly specific detail, and
• Uses surprising / exotic language to make those details blaze in our imagination.

That basic template is one you can use again and again. It never stales. It lies at the heart of all good descriptive writing.

So here, for example, is a more ‘boring’ space . . . but still one redolent with vividness and atmosphere thanks to the powerful use of atmospheric specificity. In Margaret Atwood’s  The Handmaid’s Tale , Offred introduces her room with details that not only grab us but hint at something dark:

A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath and in the centre of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier once. They’ve removed anything you could tie a rope to.

Those clipped words transport us straight to Offred’s enclosed, and terrifying, space. We’re also told just enough to give us an image of that place, enough to heighten tension, enough to tease curiosity. This is just a description of a room – but we already feel powerfully impelled to read on.

Be Selective With Your Descriptive Details

Be selective – don’t overwhelm.

It might be tempting to share every detail with us on surroundings.

Even with a setting like Hogwarts – a place readers really do want to know all the hidden details of – J.K. Rowling doesn’t share how many revolving staircases it has, how many treasures in the Room of Requirement, how many trees in the Forbidden Forest. That’s not the point. (And it would write off a little of Hogwarts’ magic and mystery.)

If you’re describing a bar, don’t write:

The bar was approximately twenty-eight feet long, by perhaps half of that wide. A long mahogany bar took up about one quarter of the floor space, while eight tables each with 4 wooden chairs occupied the remaining area. There were a number of tall bar stools arranged to accommodate any drinker who didn’t want to be seated at one of the tables. The ceiling height was pleasantly commodious.

That’s accurate, yes. It’s informative, yes. But it’s bland as heck.

The reader doesn’t want information. They want atmosphere. They want vivid language. They want mood.

Here’s an alternative way to describe a bar – the Korova Milk Bar in  A Clockwork Orange.  This description delivers a sense of intimacy and darkness in a few words:

The mesto [place] was near empty … it looked strange, too, having been painted with all red mooing cows … I took the large moloko plus to one of the little cubies that were all round … there being like curtains to shut them off from the main mesto, and there I sat down in the plushy chair and sipped and sipped

We’re told what we need to know, thrown into that murky Korova atmosphere and Burgess moves the action on. All we really have in terms of detail are those mooing red cows, some cubies (curtain booths?), and a plushy chair. There’s lots more author Anthony Burgess could tell us about that place. But he doesn’t. He gives us the  right  details, not all the details.

And if that’s not enough for you, then try reading  this .

Write For  All  The Senses

You have a nose? So use it.

Visuals are important, but don’t neglect the other senses. Offering a full range of sensory information will enhance your descriptive writing.

Herman Melville, say, describes to us the chowder for the ship’s crew in  Moby Dick : ‘small juicy clams, scarcely bigger than hazel nuts, mixed with pounded ship biscuits and salted pork cut up into little flakes.’ Such descriptions are deft, specific, and brilliantly atmospheric. Where else but on board a nineteenth century American whaler would you get such a meal? By picking out those details, Melville makes his setting feel vibrantly alive.

Here’s another example.

Joanne Harris’ opening of  Chocolat  plays to readers’ senses, as we’re immersed straightaway in the world of her book through scent, sound and sight:

We came on the wind of the carnival. A warm wind for February, laden with the hot greasy scents of frying pancakes and sausage and powdery-sweet waffles cooked on the hotplate right there by the roadside, with the confetti sleeting down collars and cuffs and rolling in the gutters .

These non-visual references matter so much because sight alone can feel a little distant, a little empty.

By forcing the reader’s taste buds to image Melville’s clams or Harris’s pancakes – or making the reader feel that warm February wind, the confetti ‘sleeting’ down collars – it’s almost as though the writers are hauling the readers’ entire body into their scenes.

That’s good stuff: do likewise.

(And one easy test: take one of your scenes and highlight anything that references a non-visual sense. If you find some good references, then great: you’re doing fine. If not, your highlighter pen remains unused, you probably want to edit that scene!)

Get Place And Action Working Together

That’s where the magic happens!

Use the atmospheric properties of a place to add to other properties of the scene. That doesn’t mean you should always play things the obvious way: no need for cliché;.

You can have declarations of love happen in idyllic meadows, as in  Twilight  by Stephenie Meyer, but why not at a bus stop in the rain? Shouted over the barriers at a train station?

Your character also brings one kind of mood to the scene, and the action that unfolds will bring other sensations.

Lynda La Plante’s crime novel  Above Suspicion  makes a home setting frightening after it becomes obvious a stranger has been in protagonist DS Anna Travis’ flat, and she’s just been assigned to help solve her first murder case.

So the place is influenced by action, once Anna notices:

Reaching for the bedside lamp, she stopped and withdrew her hand. The photograph of her father had been turned out to face the room. She touched it every night before she went to sleep. It was always facing towards her, towards the bed, not away from it. … In the darkness, what had felt safe before now felt frightening: the way the dressing-table mirror reflected the street-light through the curtains and the sight of the wardrobe door left slightly ajar.

Here a comfy, nondescript flat becomes a frightening place, just because of what else is going on. Go for unfamiliar angles that add drama and excitement to your work.

Descriptions As Active Characters

You know the way that a place can turn on you? So (for example) a place that seems safe can suddenly reveal some other side, seem menacing, then almost try to harm the character.

That’s an incredibly powerful way to build descriptive writing into your text – because it feels mobile, alive and with a flicker of risk. You can use  plotting techniques  to help structure the way a reader interacts with a place: starting with a sense of the status quo, then some inciting incident that shifts that early stability, and so on. The inciting incident can be tiny – discovering that a photo frame has been moved, for example.

Having your characters voice their perceptions of a place in  dialogue  also adds to its dramatic impact, because now the reader sees place both through the eyes of a narrator and through the eyes of the characters themselves. Good, huh?

Do you need more help? Did you know we have an entire video course on How To Write? That course has had awesome client reviews, but it’s kinda expensive to buy . . . so don’t buy it!

We’ve made that course available, in full, to members of Jericho Writers. Our members don’t just get that course, they also get:

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We’ve made the offer as rich as we know how to – and made it incredibly affordable too. You can find out  more about our club here . Remember: we were founded by writers for writers – and we created this club for you. Do find out  more … and we’d absolutely love it if you chose to join us.

Free Character Builder

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Use Unfamiliar Locations

And smart research ALWAYS helps.

Using unfamiliar settings adds real mood and atmosphere.

Stephenie Meyer, when writing  Twilight , decided she needed a rainy place near a forest to fit key plot elements.

Like protagonist Bella, she was raised in Arizona, but explained the process of setting  Twilight  in an unfamiliar setting on her  blog :

For my setting, I knew I needed someplace ridiculously rainy. I turned to Google, as I do for all my research needs, and looked for the place with the most rainfall in the U.S. This turned out to be the Olympic Peninsula in Washington State. I pulled up maps of the area and studied them, looking for something small, out of the way, surrounded by forest. … In researching Forks, I discovered the La Push Reservation, home to the Quileute Tribe. The Quileute story is fascinating, and a few fictional members of the tribe quickly became intrinsic to my story.

As her success has shown, it’s possible to write successfully about a place you don’t know, but you must make it your business to know as much as you can about it. (Or if you’re writing a fantasy or sci-fi novel, plan your world down to its most intricate details.)

And to be clear: you’re doing the research, not because you want that research to  limit  you. (Oh, I can’t write that, because Wikipedia tells me that the river isn’t as long / the forest isn’t as thick / or whatever else.)

On the contrary:

You are doing the research, because that research may inspire and stimulate a set of ideas you might not have ecountered otherwise .

The key thing is to do your research to nail specifics, especially if they are unfamiliar, foreign, exotic.

Just read how Tokyo is described in Ryu Murakami’s thriller  In the Miso Soup :

It was still early in the evening when we emerged onto a street in Tsukiji, near the fish market. … Wooden bait-and-tackle shops with disintegrating roofs and broken signs stood next to shiny new convenience stores, and futuristic highrise apartment complexes rose skyward on either side of narrow, retro streets lined with wholesalers of dried fish.

There’s authenticity, grit to this description of Tokyo, as opposed to using ‘stock’ descriptions that could apply to many modern cities.

Note this same thing with foods: in Japan, your protagonist could well be eating miso soup, as per Ryu Murakami.

Or say if your story was set in Hong Kong, you might write in a dai pai dong (a sort of Chinese street kitchen), something very specific to that city if you’re describing a street there.

Alternatively, if you are setting something in the past, get your sense of place right by doing your research right, too.

In historical novel  Girl with a Pearl Earring  by Tracy Chevalier, set in Holland in 1664, maid Griet narrates how artist Johannes Vermeer prepares her for her secret portrait, musing, to her horror, that ‘virtuous women did not open their mouths in paintings’.

That last is just a tiny detail, but Griet’s tears show us how mortified she is. Modern readers won’t (necessarily) think about seventeenth-century connotations like this, so if you’re writing a scene set in a very different era or culture to what you know, research so you’re creating a true sense of place.

Use Place To Create Foreshadowing

A brilliant technique – we love it!

Descriptions of place are never neutral.

Good writers will, in overt or gently subtle ways, introduce a place-as-character. If that character is dangerous, for example, then simply describing a place adds a layer of foreboding, foreshadowing, to the entire book.

Just read how J.R.R. Tolkien describes the Morannon in  The Two Towers : ‘high mounds of crushed and powdered rock, great cones of earth fire-blasted and poison-stained … like an obscene graveyard.’ It’s obvious from this description trouble lies ahead for Frodo Baggins and Sam Gamgee.

But even if you’re not writing this sort of fantasy, character psychology and plot (as we saw above) can also render seemingly harmless places suspect, too. A boring apartment in  Above Suspicion  becomes scary when it seems someone’s been inside.

In the same sense, we thrill to the sense of a place with excitement and promise, too, like when Harry makes his first trip to Diagon Alley (in  Harry Potter and the Philosopher’s Stone ) to shop for Hogwarts equipment with Hagrid.

There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon. … They bought Harry’s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk.

Just weave place and action together like this to create atmosphere, excitement, tension, foreboding.

Think About Your Words – Nouns And Adjectives

Specific is good. Unexpected is great!

One final thought. When you’ve written a piece, go back and check nouns.

A bad description will typically use boring nouns (or things) in settings, i.e. a table, chair, window, floor, bar, stool, etc.

If you try to fluff up that by throwing in adjectives (i.e. a grimy table, gleaming window, wooden floor), the chances are you’ll either have (i) made the description even more boring, or (ii) made it odd.

Of course, this works for that first passage we looked over from Margaret Atwood.

We sense Offred counting the few things she has in the little room she calls hers, the window and chair, etc., in terse phrasing. We sense her tension, her dissociation, and we feel trapped with her.

All the same, play with nouns, with taking your readers to new surroundings. Give them a Moloko. Play with surroundings, how you can make them different, how you can render the ordinary extraordinary. With the right nouns in place, you’ll need fewer adjectives to jazz things up – and when you do use them, they’ll feel right, not over the top.

Happy writing!

About the author

Harry has written a variety of books over the years, notching up multiple six-figure deals and relationships with each of the world’s three largest trade publishers. His work has been critically acclaimed across the globe, has been adapted for TV, and is currently the subject of a major new screen deal. He’s also written non-fiction, short stories, and has worked as ghost/editor on a number of exciting projects. Harry also self-publishes some of his work, and loves doing so. His Fiona Griffiths series in particular has done really well in the US, where it’s been self-published since 2015. View his website , his Amazon profile , his Twitter . He's been reviewed in Kirkus, the Boston Globe , USA Today , The Seattle Times , The Washington Post , Library Journal , Publishers Weekly , CulturMag (Germany), Frankfurter Allgemeine , The Daily Mail , The Sunday Times , The Daily Telegraph , The Guardian , and many other places besides. His work has appeared on TV, via Bonafide . And go take a look at what he thinks about Blick Rothenberg . You might also want to watch our " Blick Rothenberg - The Truth " video, if you want to know how badly an accountancy firm can behave.

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Creative Writing - The door creaked open as the young boy stepped out but was quickly slammed shut by the viscous wind the noise echoed through the hills disturbing some pigeons roosting in the near by trees.

 Robin Lawson        Page         

Creative Writing

The door creaked open as the young boy stepped out but was quickly slammed shut by the viscous wind the noise echoed through the hills disturbing some pigeons roosting in the near by trees. The moon was out illuminating the night sky with a milky glow which illuminated all land creating large disturbing shadows. The trees bent in submission to the howling wind which forced their branches to brush along the ground sweeping the dust away from the track. The solitary building which could barely be described as a house stood alone and solitary on the hillside. The walls were crumbling from the water logged plaster and only one window still contained a pain of glass. The door had almost come off its hinges and with one more slam it would break. Off in the distant hill tops stood a wolf howling at the moon its silhouette easily visible from miles around.

         The child standing at the door way looked older than he was with jet black hair and dark bushy eyebrows that almost seemed to crawl across his face like giant caterpillars. His eyes were large and round with black pupils white when he looked into the pale glow of the moon. His lips were thin and pale with deep cracks. They looked like they belonged to a fifty year old. His face was white and worn with long wrinkle stretching across his cheeks. He was wearing a long grey trench coat which danced in the wind behind him. He grabbed it and wrapped it tightly round himself like a cocoon. Then he started off along the dirt road keeping his head low in a desperate battle against the wind. Slowly, with each foot crunching it to the leaves which were strewn along the path he fought a constant battle against the wind.

The moon was rising higher in the sky throwing streaks of light like icicles across the darkened land. Then from nowhere a rogue cloud streaked across the sky to shield the moon from view. Suddenly the land turned black like some giant hand had just turned off the huge light floating in the sky. The moon fought hard to pierce the shield formed by the cloud but to no avail. The cloud appeared to slow down as it passed by the moon but gradually it began to pass and then suddenly two large streaks of light shot out from the side of the moon the whole land gradually began to reappear under the moonlight. Within a matter of minutes the moon had reappeared from its shade and was shining with extra brightness to make up for the time which it was blocked. Once again the shadows of the trees began to dance in the moonlight. Swaying like mystical dancers in the wind.

This is a preview of the whole essay

The child continued on his journey along the moonlit path leading up over a hill and off in to the distance. The road began to climb the boy slowed his pace wrapping his long trench coat even tighter round his small frail body. Suddenly the wind grabbed hold of his jacket pulling him back he fell and stumbled for a few seconds he sat there with his hands and knees resting on the ground. He composed himself stood up and once again cocooned himself within his jacket. The gradient of the road climbed even higher slowly he began to crawl higher up the hill. Eventually he reached the top of the hill and stood there looking over the landscape. Over to his left and his right outstretched two long lines of trees which appeared to be moving from one side to the other with the wind. However by now the wind was beginning to die down, the clumps of trees were not swaying so ferociously in the wind. The trees encircled one huge clearing of small hills with odd areas of flat land which had small hermit pine trees strewn over the ground. Every now and then a pair of sparkling diamond eyes would dart across the area quickly disappearing into the tress. Streaks of moonlight stretched out over the hills and off into the distance.

He stood there for about ten minutes with his trench coat blowing in the wind. Gradually the wind began to die until the trees were still and lifeless. The boy continued on his journey at a much quicker pace down the hill no longer fighting the wind. Gradually the gradient of the land began to lessen and eventually the land became flat once again. Finally the boy sighted his goal on old barn off in the distance. The barn was situated at the bottom of the tallest hill in the area it was nearly a mountain, it stretched up towards the heavens and could not be seen in the gloom of the night. The roof was thatched but the thatch desperately needed replacing. There were many holes on the roof and most of it had turned green with mould. There were two small windows located on the top half of the house on either side they glared out like a pair of dead black eyes. The door was ajar it stood there like a huge gaping mouth waiting to engulf the next visitor to enter the darkness. The barn with its green hair dark lifeless eyes and gaping mouth was terrifying. But still the boy carried on walking along the path towards the monstrous house.

Off in the distance the headlights of cars sped past and the pounding sound of great tankers and lorries could be heard carrying their many unknown substances across the countryside. As he drew nearer the number of headlights and noises seem to grow louder spoiling the peace and tranquillity of the whole area. Suddenly a flock of birds driven from their roost by the noise shot off into the night sky, he jumped back startled and tripped over a discarded plastic bottle. He fell to the ground landing on his back quickly he scurried to get up again. Now startled by the fall he began to run along the path then darting off to take a short cut through the trees their long fingers hindering his passage and scratching his face. Tired and with his face scratched he emerged from the blanket of trees. He stopped and rested with his hands on his knees panting hard, steam bellowed from his mouth with every breath. Eventually he stood up straight and looked up at the decrepit old barn; he stared up at the barn with its dark eyes constantly looking ahead. Slowly, cautiously he entered into the gaping mouth and the darkness of the building.

Once inside he pulled a torch from his pocket and began to examine the area, once his eyes became accustomed to the gloom he replaced the torch in his pocket and looked around. Stacked in the corner of the barn was a huge pile of straw and despite the fact that it had been left there for the last few years it was surprisingly dry. The rest of the floor was empty. But the upper rafters were teeming with life, many owls sat on the beams every few minutes another one would enter and a different one would leave. Rats and mice ran back and froth across the beams of wood and many other birds sat perched somewhere on the roof.

Gradually the boy reached into his left pocket and pulled out a bottle of mentholated spirit casually he began spreading it over the pile of straw humming to himself as he worked. He then turned his attention to the rest of the barn splashing the last few drops over the walls. He then reached in to his other pocket and pulled out a tiny box of matches he held the box up to his ear and shook a small rattling sound came from the box. He opened the box to reveal five small matches, he took out one of the matches and laid it on the palm of his hand just staring at it. He clenched his fist around the match and then walked out of the barn. Returning a few minutes later with some small twigs and dry bracken he stacked them up into a pile on top of the straw and then took a second bottle of mentholated spirit and soaked the small fire in the liquid. He pulled the single match and the match box from his pocket. He stuck the match quickly on the box there was a fizzle and the match erupted in flame. He leaned over the soaked fire he had constructed and dropped the match on to the fire. The entire fire erupted in flame the small flames began to chase each other all over the huge pile of straw and along the walls. The flames began to grow larger and hotter and the familiar crackling that is associated with fires began to sound. The boy stepped back to admire his masterpiece this burning leaving breathing thing which he had created it moved around the building with the speed of a cat. The flames began lapping at the ground on the edge of the straw stack searching for substances to fuel their destructive path. The walls glowed red with the heat from the flames and loud cracking noises could be heard. The burning heat began to engulf the structure, mice and other animals began to scurry high up into the rafters where they believed they would be safe. The boy stood their mesmerised by the dancing waves of flame as his very own creation began to grow to an uncontrollable height and size. In distance the whirring sirens of the petrol fuelled fire trucks came echoing.

The Sun rose in the sky illuminating the charred remains of the barn surrounded by fire trucks and police cars. The few remaining pockets of fire were being extinguished by men dressed in large jackets. The report filed later stated that the fire had been started by flammable chemical possible petrol being lit within the barn. There were no suspects as to who started the fire all that was found was the remains of an old trench coat.

Document Details

• Word Count 1709
• Page Count 3
• Subject English

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Master List of Ways to Describe Fear

People have been asking me for this list for such a long time! If you write horror, suspense, mystery, or any kind of fiction with a scary scenes, you need to know how to describe fear.

This list can get you started. It’s a lot of phrases describing fear, including physical reactions, physical sensations, facial expressions, and other words you can use in your novel or in other creative writing.

I’ve included some that can work for uneasiness or anxiety, but most of these are for real terror. You can alter them to fit your sentence or your story, and they’ll likely inspire you to come up with your own descriptions.

Bookmark or pin this page for your reference—it might save you a lot of time in the future. I’ll probably add to it now and again!

fear paralyzed him

his terror mounted with every step

she fought a rising panic

fear tormented her

her heart was uneasy

her heart leaped into her throat

his heart hammered in his chest

his heart pounded

terror stabbed his heart

his heart jumped

her heart lurched

a fear that almost unmanned him

his body shook with fear

she trembled inside

he suppressed a shiver

panic surged through him

her fear spiked

he was in a complete state of panic

she could feel nothing but blind terror

his legs were wobbly with fear

she sweated with fear

his hands were cold and clammy

she was weighed down by dread

dread twisted in her gut

his stomach clenched

fear fluttered in her stomach

her belly cramped

he felt like he might throw up

she was sick with fear

she was frightened down to the soles of her shoes

he was icy with panic

her body went cold with dread

raw panic was in her voice

her voice was thick with fear

his voice was edged with fear

terror thundered down on him

fear caught her in its jaws

fear clawed up her throat

terror sealed her throat

fear gripped her throat

his throat tightened

then she knew real terror was

he was frantic with fear

she was half mad with terror

the color drained from her face

his face was ashen

she blanched

dread gnawed at his insides

dread had been growing in him all day

fresh terror reared up within her

fear choked him

terror stole her words

he was mute with horror

her voice was numb with shock

his voice was shrill with terror

her defiant words masked her fear

her body felt numb

his blood froze in his veins

terror coursed through her veins

fear throbbed inside her

his panic fueled him

adrenaline pumped through his body

adrenaline crashed through her

fear pulsed through him

her scalp prickled

the hairs on the back of her neck stood up

his mouth went dry

his bones turned to jelly

her bones turned to water

she froze with horror

he didn’t dare to move

terror struck her

he was too frightened to lift her head

she was too frightened to scream

his mouth was open in a silent scream

he cringed with fear

she cowered

he shrank back in fear

she flinched

a bolt of panic hit her

terror streaked through him

her terror swelled

his panic increased

anxiety eclipsed his thoughts

panic flared in her eyes

his eyes were wild with terror

her eyes darted from left to right

she feared to close her eyes

he lay awake in a haze of fear

she walked on in a fog of fear

his eyes widened with alarm

she tried to hide her fear

he struggled to conceal his shock

fear crept up her spine

fear trickled down her spine

panic seized his brain

she felt a flash of terror

fear took hold of him

fear flooded through her being

she ordered a drink to drown the panic

he arranged and re-arranged the items on his desk

a nameless dread engulfed him

I bet you came up with other ideas as you were reading!

For more writing lists, check out my book Master Lists for Writers , if you don’t have it yet! A lot of writers use it to make writing go faster, especially when it comes to descriptions.

And if you’re not following the blog already, sign up below—I share lots of writing resources. Thanks so much for reading, and happy writing!

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30 thoughts on “ master list of ways to describe fear ”.

Thank you, Bryn. I can certainly use this list as I go through and clean up my novel. There are some places that need a stronger element of fear.

Hi Bonnie! So glad this was coming at the right time! 🙂

Love the book and the above list! Thank you for taking the time to compile all of it. So appreciated!

Oh thank you! I’m so glad you like it!

I just love your lists. I often refer to them when I’m stuck. That book is right next to the dictionary and thesaurus when I write.

I’m so glad you like them, Erin! I’m honored. 🙂

I was searching for the perfect list to describe fear. I stumbled across your blog and I am glad that I did, you literally saved my butt out there!!? I got an A* because of you ! Thankyou!!❤❤

Aww, I’m so glad to hear this! 🙂

Thanks for compiling this list. Much needed.

Aw thanks, Ezekiel! So glad you like it!

What a terrifying, fantastical list. Thank you, Bryn

Haha, thanks, Bryan! When I read back over it, I did feel a little creeped out. 🙂

I have a scene coming up that this will be perfect for. Thank you for sharing. Bookmarking now!

Hi Sarah! So glad it’ll be useful! Sounds like you have an exciting scene coming up 🙂

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This is a great list! Thank you, Bryn.

Wow! When I read it, I was SO / COMPLETELY creeped out!???

Ha! You know what, when I make these lists, I always start feeling the emotions, too!

I’m thankful for your help. It is great to see these lists. Many blessings ❤️

I have been a bibliophile since long, but never before did I read so many blogs in a sequence. I am really amazed to have found them.Thanks a ton . Superb work .

You saved my life ! Thank you a lot ???

So glad to hear that! Happy writing 🙂

Thanks… It’s good to know tath someone is making life easier for those interested in writing.

ohhh ,how grateful i am for this list it will come in handy so thankyou

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Thank you so much for this list! It is exactly what I was looking for. I ordered the book 🙂

Thanks for ordering the book, Laila. I hope you like it! And glad this list worked for you!

This is an amazing list. I saw in your other comment that you have a book…?

I wanted to tell you that I often return to this page when I am stumped coming up with a way to write some specific reaction. Sometimes I just use one of the ideas you offer directly, and other times something here gives me an idea I riff off of to create something new. Thank you so much for compiling this list!

I riffed this time (last line): “Still feeling the sadness of Manzoa’s fate and wondering what this place was and why he was here, Goff cautiously walked over to the desk. A quill still wet with thick black ink rested next to a sheet of parchment filled with writing in a language he couldn’t read. Crude drawings made with heavy strokes were set within the words. Some of them were disturbing — a bleeding hand cut open with a knife and a person floating lifeless below a ghoul with black eyes poised to attack. He stared at the words, hoping that just like when he traveled back in time to Monstraxen, he would be able to understand them. As he stared, the ink on the page disappeared like water soaking into a sponge. A spider of panic crawled up his spine.”

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Tim Kane Books

Strange is the new normal, how to write creepy scenes to make your readers squirm.

Most writers who delve into horror hit the prose with a bag of clichés and heavy handed stage props—swirling fog, glowing eyes, wicked laughs. Don’t get me wrong, camp can be great (if it’s intentional). However, a more subtle approach can work wonders.

Add Details One by One

Use disturbing details or reversals when describing your scenes. Each one, taken by itself, does little, but in combination, they imbue the reader with unease. Consider Cold Skin by Albert Sánchez Piñol. Here an unnamed narrator just inhabited a weather station on a deserted island.

Just then, I heard a pleasing sound far off. It was more or less like a heard of goats trotting in the distance. At first, I confused it with the pattering of rain; the sound of heavy and distinct drops. I got up and looked out of the closest window. It wasn’t raining. The full moon stained the ocean’s surface in a violet hue. The light bathed the driftwood lying on the beach. It was easy to imagine them as body parts, dismembered and immobile. The whole thing brought to mind a petrified forest. But it wasn’t raining.

Reversal : The narrator thinks it’s raining, but then there’s no rain. We wonder what’s creating that pattering sound, and the not knowing makes us uneasy.

Disturbing details : The water is stained violet, a bloodlike color. This idea is cemented in the reader’s skull with the driftwood, described as dismembered limbs.

Let the Character Freak Out

Nothing creeps out a reader faster than letting the protagonist freak out. Ever wonder why there are so many screams in horror movies? It’s the same thing. As an author, you must find the written equivalent to the scream.

In Bag of Bones by Stephen King, the protagonist, Mike Noonan, begins to believe that his house is haunted. He’s in the basement and hears the sound of someone striking the insulation, but no one else is home.

…every gut and muscle of my body seemed to come unwound. My hair stood up. My eyesockets seemed to be expanding and my eyeballs contracting, as if  my head were trying to turn into a skull. Every inch of my skin broke out in gooseflesh. Something was in here with me. Very likely something dead.

King lays it on thick here. Instead of one physical reaction, he dumps the whole bucket on us. He doesn’t dazzle us with a etherial decaying corpse. We won’t even see the ghost till the final chapters. No. He tells us how Noonan feels just in the presence of the thing and that’s what creeps us out.

Another example of the character freaking out can be seen in Shirley Jackson’s  The Haunting of Hill House .

Now we are going to have a new noise, Eleanor thought, listening to the inside of her head; it is changing.  The pounding had stopped, as though it had proved ineffectual, and there was now a swift movement up and down the hall, as of an animal pacing back and forth with unbelievable impatience, watching first one door and then another, alert for a movement inside, and there was again the little babbling murmur which Eleanor remembered; Am I doing it? she wondered quickly, is that me? And heard the tiny laughter beyond the door, mocking her.

Here the character doubts herself and what she sees. This is essential to any horror story. When weird things happen, the character mysteries react accordingly. The stranger the situation, the stronger the reaction. And most of us would doubt our sanity in creepy situations.

Let The Reader Do the Imagining

Why should you, the author, do all the heavy lifting. Your reader’s imagination will often fill in the blanks for you. Take this example from Stephen King’s The Girl Who Loved Tom Gordon .

As she reached the driver’s door of the cab, which hung open with vines twisting in and out of its socket of a window, lightning flashed again, painting the whole world purple. In its glare Trisha saw something with slumped shoulders standing on the far side of the road, something with black eyes and great cocked ears like horns. Perhaps they were horns. It wasn’t human; nor did she think it was animal. It was a god. It was her god, the wasp-god, standing there in the rain.

Notice that the monster is only vaguely described. It’s called “something” twice. This lets the reader fill in the blanks. There is enough description that we at least know it’s a big hulking creature. This is the literary equivalent of when Ridley Scott only showed glimpses of the alien in Alien .

Use Strong Verbs

Finally, strong verbs will help any writer to shine, but they can also allow one character to shine over another. Take this excerpt from William Blatty’s The Exorcist .

Regan’s eyes gleamed fiercely, unblinking, as a yellowish saliva dribbled down from a corner of her mouth to her chin, to her lips stretch taut into a feral grin of bow-mouthed mockery.

“Well, well, well,” she gloated sardonically and hairs prickled up on the back of Karras’s neck at a voice that was deep and thick with menace and power. “So, it’s you … they sent  you !” she continued as if pleased. “Well, we’ve nothing to fear from you at all.”

“Yes, that’s right,” Karras answered; “I’m your friend and I’d like to help you.”

“You might loosen these straps, then,” Regan croaked. She had tugged up her wrists so that now Karras noticed they were bound with a double set of leather restraining straps.

“Are the straps uncomfortable for you?”

“Extremely. They’re a nuisance. An  infernal  nuisance.”

The eyes glinted slyly with secret amusement.

Karras saw the scratch marks on Regan’s face; the cuts on her lips where apparently she’d bitten them. “I’m afraid you might hurt yourself, Regan,” he told her.

“I’m not Regan,” she rumbled, still with that taut and hideous grin that Karras now guessed was her permanent expression. How incongruous the braces on her teeth looked, he thought. “Oh, I see,” he said, nodding. “Well, then, maybe we should introduce ourselves. I’m Damien Karras. Who are you?”

“I’m the devil!”

Notice the verbs that Blatty uses with Reagan — gleamed, dribbled, gloated, croaked, rumbled. In contrast, the more calm individual in the scene, Karras, responds with simple verbs like “answered” and “saw”. The contrast allows the reader to see Reagan as disturbing.

If you want to make your readers squirm, reading only in daylight hours, shy away from the obvious gore and claptrap. Rather, take the quieter road of tiny disturbing details built up over pages and chapters. Show how your character reacts to what’s happening, and the reader will feel it too.

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How to describe a door

It would be "creak", not "creek" (the latter is a kind of small river).

One normally wouldn't describe a creak as being "ear piercing" or "deafening", and it comes across as a weirdly juxtaposed phrase as a result. Perhaps in a particular context ("...seemed deafening in the silence") it might be OK but by itself seems strange.

"stood tall towering over me" is a unnecessarily tautological and the alliteration doesn't improve that!

It should be "hard" not "hardly" in the first sentence (they have very different meanings)

Also "behind the door that is now wide" is a really weird construction and not very idiomatic in English.

It should be "closed" not "close" in the final sentence.

"Lightly lightened" is weird phrasing, bordering on tautological...also "turned nightly" sounds bizarre as nightly has a very different meaning (it means "each night" not "night-like"). While I can see what you were doing with repurposing it as a kind of neologism it still reads oddly.

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The Door Creative Writing

Subject: English

Age range: 11-14

Resource type: Lesson (complete)

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17 June 2020

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A lesson which takes pupils step-by-step through forming ideas for a picture based creative writing task and how to structure their response. Mainly for use with younger year groups or those of lower ability.

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How To Write a Product Description (Examples + Template)

Struggling to write compelling product descriptions for your store? Try these expert copywriting tips to inform, persuade, and boost your sales.

Ever dismissed product descriptions as unimportant? Assumed that as long as the information on your product page is accurate, you’re good to go? It’s time to think again.

Product descriptions are more than a summary of what you’re selling. Written correctly, they can boost your store’s conversion rate and make your products seem more valuable. The right words can even make customers happy to pay more.

Here’s how to make product descriptions work harder for your ecommerce business .

Let Shopify Magic write product descriptions for you

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What is a product description?

A product description is a piece of marketing copywriting that tells people what a product is and why it’s worth buying. Beyond a list of product details or features, descriptions tell a story about what makes a product special and persuade customers to make a purchase.

Product descriptions can vary in length, style, and format, and may be written in a brand’s unique voice.

What makes a good product description?

A well-crafted product description can significantly impact sales, customer satisfaction, and brand reputation by performing a dual purpose:

• It informs customers about product details, such as its features, uses, and benefits. This helps customers understand what the product is and how it works.
• It convinces customers of the product’s value. This is where the persuasive power of a product description comes into play. It answers questions like, “What problem does a product solve?” and “What makes it better than the competition?”

By addressing these points, a good product description paints a clear picture of a product’s value proposition . It highlights the unique benefits and advantages that set a product apart from its competitors.

Good product descriptions move buyers through a sales funnel , turning them from interested browsers to motivated buyers, making them more likely to hit the Buy button.

How to write compelling product descriptions that sell

Many online stores list the features of their products and call it a day. While clear information about your items is important, you also need to tell people how a product can help them. 

Let’s look at how you can create descriptions that capture your product’s value:

• Speak to your ideal customer
• Highlight benefits, not features
• Avoid generic phrases
• Support superlatives with facts
• Feed customers’ imagination
• Tell your product’s story
• Use sensory language
• Add social proof
• Make descriptions scannable
• Set and measure KPIs

1. Speak to your ideal customer

When product descriptions are written with a broad audience in mind, they can become vague and fail to resonate.

To make your descriptions engaging, speak directly and personally to your target audience. Anticipate and answer product-related questions as if you were having a one-on-one conversation, using language and terminology that resonates with your ideal customer. That includes using the word "you."

Take a look at how The Oodie , an apparel retailer, harnesses this approach in the product description for its I Love Plants Oodie.

I Love Plants Oodie product description:

“Can’t stop buying plants? Unbeleafable. Don’t worry—us too! Cover yourself in your favourite obsession in our NEW I Love Plants Oodie! For every I Love Plants Oodie sold, one tree is planted across the world.”

When writing product descriptions for your ecommerce business, start by visualizing your ideal customer. What kind of tone do they appreciate? What vocabulary are they familiar with? Are there certain words they dislike? What questions might they have?

Think about how you would communicate with your ideal customer if you were selling your product face-to-face in a physical store. Then, try to incorporate that language into your ecommerce site. This approach can help create an online conversation that resonates more deeply with your customers, making them feel understood.

2. Highlight benefits, not features

While it’s natural to be excited about the unique features of your products, potential buyers are more interested in how these features will benefit them. They want to understand how your product will solve their problems or enhance their lives.

Writing an effective product description, therefore, requires highlighting the benefits of each feature—addressing any uncertainty or cognitive bias around the helpfulness of your product. A good example of this approach comes from Dr. Squatch , a company that sells natural soaps for men.

Pine Tar soap product description:

“Made with real pine extract, this all-star bar is as tough as a freshly cut bat. A true MVP of the shower, this heavy-hitter knocks out grime with its gritty composition and ultra-manly, woodsy scent. Toss in the exfoliating oatmeal and the super-soothing shea butter, and you’ve got a bullpen of natural ingredients that will strike out any stink.”

Dr. Squatch’s product page places the ingredients list of its Pine Tar soap on a hidden tab, choosing instead to lead with a description, which paints a vivid picture of the experience of using the product.

The description suggests that the soap performs its function (to clean) in a way that’s specifically suited to its target customer (men looking for a natural yet heavy-duty bathroom product). 

When writing product descriptions, consider the benefits of each product feature. How can your product make your customers’ lives better, easier, or more enjoyable? What problems does your product solve? Remember, you’re not selling a product; you’re selling an experience.

Dr. Squatch’s description also uses a brand-relevant extended metaphor (baseball) and overtly masculine adjectives (“tough,” “woodsy,” and “gritty”) to appeal to its target audience. Fine-tuning your copywriting in this way can help your product resonate.

3. Avoid generic phrases

When you’re unsure what to say about a product, writing descriptions can get challenging. It’s tempting to resort to general, overused phrases such as “effective” or “high quality.” However, clichés fail to impress potential buyers. They’ve heard these claims before, and they don’t provide unique or persuasive information about your product.

To avoid banalities, be as specific as possible in your copywriting.

Take Beardbrand , for example. Instead of making broad claims about the effectiveness of its products, it provides detailed reasons why its Best Sellers Bundle is so popular.

Beardbrand Best Sellers Bundle product description:

“ A do-it-all beard wash, hair shampoo, face wash, and body wash in a massive 14 oz. bottle. Formulated with hydrating, coconut-derived surfactants, this wash is gentle enough for your beard, hair, and face yet strong enough to wash everywhere else.

“Life is hard; soften up with this do-it-all beard and hair conditioner featuring an ultra-moisturizing punch of coconut oil and shea butter. Utility Softener doubles down as a hydrating shave lotion that helps reduce razor burn and irritation.

“An award-winning blend of jojoba, abyssinian, castor, and babassu oils makes Utility Oil the only oil you’ll ever need. Use this lightweight, moisturizing blend as a beard oil, hair oil, skin moisturizer, face serum, and pre/post-shave oil.

“Finish off your grooming routine with Styling Paste — a medium hold, satin finish styling aide for hair and beard. It locks in your look while leaving hair soft, flexible, and touchable for a natural, flowing, and reshapable style.”

Detailed descriptions like these serve multiple purposes. First, they add credibility to your products. By explaining the specific benefits of each product, you show potential customers that you know your products well and believe in their value.

Second, detailed descriptions help customers visualize how they’ll use the products. By painting a clear picture of the product experience, you help customers understand exactly what they’re buying and why it’s worth their investment.

Lastly, detailed product descriptions build trust. When you can speak with authority about the granular details of your products, customers are more likely to trust your brand.

💡 Once a product description has enticed a customer, Beardbrand uses a subscription model to generate recurring revenue from them.

4. Support superlatives with facts

Superlatives can sound insincere in product descriptions—unless they are substantiated with clear evidence. If you claim your product is the best, the easiest, or the most advanced, you need to provide specific reasons why.

An example of this product-writing technique can be seen in the product description for Casper’s Wave Hybrid Snow mattress .

Casper Wave Hybrid Snow mattress product description:

“Our most supportive mattress paired with Snow Technology for continuous cooling all night long. Here’s how The Wave Hybrid Snow unlocks your deepest and coolest night’s sleep—for even better tomorrows:

“Foam is divided into continuous ergonomic zones to provide maximum support and spinal alignment. Our most advanced solution to nighttime overheating keeps you 6° cooler all night.”

While Casper makes the bold claim that its product can unlock your deepest night’s sleep, it backs up the rhetoric with factual evidence. The product description explains how “Casper Labs testing” has verified mattress performance. Additionally, Casper offers a 100-day free trial period to show confidence in its product and allow customers to verify the claim for themselves.

If your product really is the best in its category, provide specific proof. Otherwise, tone down your product copy —or quote a customer who can provide a positive subjective opinion.

5. Feed customers’ imagination

Research proves that physically touching a product in a store can create feelings of ownership and increase the likelihood of a purchase.

So, how can you recreate that effect online, when your customers can’t physically interact with your products? High-quality product photography and videos can help—but there’s also a powerful ecommerce copywriting technique to increase desire: let your reader imagine what it would be like to own your product.

Notice how Todd Snyder applies aspirational content, in the form of a tagline and hero image, to promote its Spring clothing collection.

Clothing collection tagline:

“Dreaming of the Amalfi.”

Todd Snyder transports website visitors to the Amalfi Coast in Italy, a place associated with luxury, chill vibes, and classic style. The image helps link Todd Snyder’s clothing collection to the dreamy lifestyle you’d find in this famous Italian spot.

To practice this copywriting technique, start a paragraph with the word “Imagine” and finish it by explaining how your readers will feel when they own your product. Then, use what you’ve generated to write an aspirational tagline in your brand’s voice.

Let’s say you’re selling an espresso machine called the Barista Pro. First, you might create this imagined scenario:

Imagine stepping into your kitchen, the sun peeking through the windows. You pull a perfect cup of coffee from your Barista Pro and experience the rich aroma of a freshly brewed latte. You feel satisfied and energized.

From that scenario, you can craft a product tagline:

Start each day with an extra shot of joy.

6. Tell your product’s story

One effective way to create engaging product descriptions is to tell the story of your product. A well-crafted narrative can make your product more relatable and memorable, helping it stand out in a crowded marketplace.

A product’s story can include the inspiration behind its creation, the challenges faced during its development, or the impact it has had on customers since launch.

When crafting a product story, consider the following:

• What inspired the creation of the product?
• What challenges were faced during development?
• How does the product reflect your brand’s values or mission?
• What impact has the product had on customers’ lives?

7. Use sensory language

Sensory language refers to words that describe how we experience the world: how things taste, smell, look, feel, and sound. By using sensory words in your product descriptions, you can help customers imagine what it’s like to own your product.

When you use sensory language in your product descriptions, you’re not just making your products sound more appealing—you’re also engaging more of your customers’ brains. A recent study has shown that social media influencer posts can generate higher engagement when they contain sensory words like “crumble” and “juicy.”

Another study revealed that exposure to tactile verbs (e.g., “touch”) can prime your brain to react as if you’re actually touching an object.

When writing your own product descriptions, think about how your product engages the senses. Whether it’s the “crisp” sound of a new keyboard, the “smooth” feel of a luxury fabric, or the “bright” flavor of a fresh fruit, sensory language can make your product descriptions more engaging.

8. Add social proof

When potential customers are unsure about buying a product, they often look for advice from trusted sources. While you can provide reassurance through high-quality product descriptions and other on-page tactics, you can’t be a neutral third-party.

This is where customer reviews and industry testimonials come in. Social proof is the idea that people are influenced by others’ actions or opinions. Examples of social proof include a comments section, customer reviews, quotes from professional critics and review sites, or mentions from mainstream newspapers and industry magazines.

Athletic wear brand Gymshark includes detailed customer reviews on each product page. They go beyond a traditional star rating system by including six relevant and easily understandable review criteria, such as “comfort” and “squat proof.”

Asking customers to review specific product features is a simple, effective way to show that you understand what your customers care about.

If you don’t have enough customers to host an active review section, consider allocating some of your marketing budget to sponsored content about your product in a relevant, well-known publication.

At the very least, you can include images of people using your products to create the impression that your product is popular and trusted. Seeing others use and enjoy a product can reassure potential customers that they’re making a good choice.

9. Make descriptions scannable

Does your website design encourage visitors to read your product descriptions?

Consider how Kettle & Fire presents its product information. The brand uses eye-catching icons, simple dropdown tabs, and bullet points to make the content easy to scan.

Visitors can quickly scroll through the page and understand pricing, key benefits, ingredients, usage recommendations, customer reviews, and the brand’s values, all within a few seconds.

Kettle & Fire also organizes information based on what customers care about most. Different categories of information are separated by contrasting background colors, providing an instant visual guide.

Keeping your product descriptions clear and easy to scan makes them more reader-friendly and appealing to potential customers.

Here are some visual ideas to make your descriptions more scannable:

• Use headlines: Grab your visitor’s attention with compelling headlines.
• Use bullet points: Break up information into easy-to-read bullet points.
• Use white space: Don’t be afraid of white space. It can make your content easier to digest.
• Use a readable font size: Using a bigger font size can improve readability.
• Use high-quality product images: Well-designed and placed images can convey a lot of information quickly.

10. Set and measure KPIs

The aim of a product description is to convince a shopper to buy. But how can you tell if your descriptions are doing their job?

Here are some common key performance indicators to monitor on your product pages. They can indicate whether your product descriptions are working:

• Conversion rate tells you how many page visitors you converted into leads or customers.
• Cart abandonment rate shows how many shoppers put an item in their cart but left without buying. All stores deal with cart abandonment, but if this KPI is poor, your product descriptions and checkout process may need some work.
• Return rate highlights how many products are being returned . If it’s high, it could mean that your product descriptions or images aren’t accurately representing your products.
• Support inquiries . If you’re getting lots of questions about a product through email or a live chat feature, it could mean that the product description isn’t clear.
• Organic search engine rankings directly correlate with the amount of traffic entering your website. Good product descriptions help with search engine optimization and make your products show up in search results, leading to more visitors and sales.

Once you’ve picked which KPIs you want to watch, consider running some tests to see if you can optimize your product descriptions. A popular type of test used to iterate descriptions is A/B testing . This involves making a new version of your product description and serving it to a subset of your audience, allowing you to compare the performance of each version in real time.

You can run multiple A/B tests to fine-tune your product descriptions, until they are fully optimized for your KPIs. Try an app like OptiMonk to run tests on your Shopify store.

Product description template

Even if you’re using AI to write great product descriptions , you need to consider the features and benefits of each product individually. Every product serves different needs, and every set of potential customers has distinct buying triggers. 

That said, it’s possible to take a similar approach to writing product descriptions across your store, by developing a product description template containing open-ended prompts. 

Try developing a template with two sections: a brainstorming section followed by a draft description section.

Product description brainstorm

Answer these questions for each of your products to develop unique, relevant information that you can craft in to a product description:

• Who’s the ideal customer for this product? Knowing who your product is for is foundational to writing a good description.
• What are the products’ basic features? Collect dimensions, materials, functions, care instructions, and other factual details about the item.
• When should the product be used? List the intended use cases for your product. Highlight the ideal scenarios for when a customer should use your product.
• What makes the product special? Think about the unique benefits of your product and why it’s better than similar offerings from competitors. 

Product description draft

Once you’ve collected your product information in a document, use the following template to draft your product description.

• Write an attention-grabbing product title: Keep your copy short and simple while communicating a product use or benefit. For example, if you’re selling a patterned yoga t-shirt, you could call it the Fleck Studio Shirt.
• Craft a short paragraph: Turn your product information into an entertaining description that tells a clear story. For example, you could describe a scene in which your product is being used.
• Create a bulleted list: Add a section that lays out product features and materials.
• Include social proof: Deploy a product review app to capture customer reviews on your product page and integrate any customer feedback that already exists on search engines or social media platforms. 

Get your free ecommerce copywriting template

Want to write compelling copy that convinces your website visitors to click, sign up, or buy? Master high-conversion copywriting and increase your sales with our easy-to-follow framework.

Product descriptions are always worth the effort

Writing product descriptions for your online store isn’t about listing features. It’s a chance to connect with your target customers and show them exactly how a product fits into their lives.

Taking time to share your enthusiasm about a product’s backstory, design process, and thoughtful details proves you’re excited about your store’s items—making it more likely your customers will get excited, too.

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Product description FAQ

How do you write a product description statement.

To write an effective product description, follow these steps:

• Know your audience: Understand who your ideal customer is and what they care about. Use language and terminology that resonates with them.
• Highlight benefits, not features: Explain how your product can solve a problem or enhance the customer’s life.
• Use sensory language: Describe how the product feels, smells, sounds, tastes, or looks to help customers imagine owning or using it.
• Tell a story: Share the inspiration behind the product or its impact on customers to make it more relatable and memorable.
• Avoid clichés: Be specific and avoid overused phrases.
• Include social proof: Add customer reviews or testimonials to build trust and credibility.
• Make it scannable: Use bullet points, subheadings, and white space to make the description easy to read.
• Include a call to action: Encourage customers to make a purchase or take the next step.

What is the purpose of a product description?

Product descriptions have two purposes: to inform and persuade potential customers. Product descriptions inform readers by detailing a product’s features, helping them understand use-cases and value. Simultaneously, they persuade readers by showcasing a product’s benefits and solutions, compelling them to purchase.

What needs to be in a product description?

A product description should clearly highlight the key features and benefits of your product to attract customers. You should make it engaging by using persuasive language that speaks directly to their needs and desires.

What is a good product description format?

A good product description starts with an attention-grabbing product title, followed by a brief paragraph telling a story about a product’s value. Next, include a bulleted list of product features and details for easy scanning. Add customer reviews for credibility, and finish with a compelling call to action .

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