creative writing description of a building

Building Descriptors: A Guide with Examples

When it comes to describing buildings, the right adjectives can make all the difference. As a seasoned architect, I’ve come across countless structures that have left me in awe, and it’s often the descriptive words used to capture their essence that truly bring them to life. In this article, I’ll be sharing a comprehensive list of adjectives that can be used to describe buildings, along with examples that showcase their application. Whether you’re an aspiring architect, a design enthusiast, or simply someone who appreciates the beauty of buildings, this guide will help you find the perfect words to articulate your admiration.

Table of Contents

How to Describe building? – Different Scenarios

Describing buildings is an important skill for architects, design enthusiasts, and anyone who appreciates the beauty of architecture. Each building has its own unique features and characteristics that can be effectively conveyed through the use of descriptive adjectives. In this section, I’ll provide you with different scenarios and examples to help you describe buildings accurately.

Scenario 1: Describing the Exterior of a Building

Scenario 2: Describing the Interior of a Building

Describing the interior of a building involves capturing its atmosphere, layout, and decor. Use these adjectives to create a vivid picture:

Scenario 3: Describing the Function of a Building

When describing the function of a building, focus on its purpose and how it serves its users. Consider these adjectives:

Describing Words for building in English

When it comes to describing buildings, it’s important to choose the right adjectives to accurately convey their characteristics and features. Whether you’re an architect, a design enthusiast, or simply someone who appreciates the beauty of architecture, having a diverse vocabulary of describing words can greatly enhance your ability to articulate your admiration effectively. In this section, I’ll provide you with a range of adjectives that you can use to describe different aspects of a building, along with examples to help you understand their usage.

Describing the Exterior of a Building

Describing the interior of a building.

The interior of a building is where its true character and functionality come to life. Here are some adjectives to describe the interior of a building:

Describing the Function of a Building

Example : The sustainable building incorporates state-of-the-art technology to reduce energy consumption and promote eco-friendly practices.

I hope this section has provided you with useful adjectives to describe buildings in English. Continue reading to discover more exciting and insightful information about adjectives for buildings.

Adjectives for building

As someone who appreciates architecture or works in the field of design, you know that choosing the right adjectives to describe buildings is essential. Whether you’re talking about the exterior, interior, or overall function of a building, using the right words can effectively articulate your admiration. Here are some adjectives to help you accurately describe buildings, along with examples to give you a better understanding of their usage.

Positive Adjectives for Building

Negative Adjectives for Building

While we often focus on the positive aspects of buildings, there are times when negative adjectives are necessary to convey certain qualities or flaws. Here are 5 negative adjectives you can use when describing buildings:

Remember, the adjectives you choose should accurately reflect your observations and opinions about buildings. Each adjective has its own unique meaning and can greatly impact how others perceive the architectural beauty. So, use these adjectives wisely and let your descriptions bring buildings to life in the minds of your readers.

Synonyms and Antonyms with Example Sentences

Synonyms for building.

Antonyms for Building

On the other hand, we also have antonyms that describe the opposite characteristics or qualities of a building. Here are some antonyms for the word “building” along with example sentences:

Remember, using a wide range of adjectives can help us paint a vivid picture and accurately convey our thoughts about buildings. By incorporating synonyms and antonyms into our vocabulary, we can add depth and richness to our descriptions.

By incorporating synonyms and antonyms into our vocabulary, we can add depth and richness to our descriptions. Architects, design enthusiasts, and those who appreciate architecture can benefit from this knowledge, as it allows them to articulate their admiration and effectively convey certain qualities or flaws of buildings.

Remember, the choice of adjectives can greatly impact how we perceive and understand buildings. Whether it’s describing their grandeur, elegance, or even their flaws, the right adjectives can help us accurately convey our thoughts and emotions. So, let’s continue to explore the vast world of adjectives and expand our vocabulary to create captivating and insightful descriptions of the buildings we encounter.

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February 19, 2016

44 Ways to Describe Buildings–Homes I

For the next few months, weekly writing tips will include word choice suggestions. That includes:

• colorful and original descriptions
• pithy words and phrases
• picture nouns and action verbs
• writing that draws a reader in and addicts them to your voice

After taking some advice from Crawford Home Buyers , I keep a  collection of descriptions that have pulled me into the books.

It’s amazing how skilled writers can use just a few carefully chosen words to transport readers into the world of their story, capturing their attention and making them want to stay. While some authors might focus on describing homes in detail, others might take a different approach, relying on powerful imagery and sensory details to evoke a mood or feeling. No matter your writing style, it’s important to find a way to connect with your readers and draw them in. When it comes to bridging the gap between planning institutions and entrepreneurs, one useful resource is  https://netivey-hakama.co.il/ . This service produces professional content and promotes the transformation of licensing into a profession with required training and education, helping to connect planners and authorities with the wider community and promoting effective collaboration.

A note: These are for inspiration only . They can’t be copied because they’ve been pulled directly from an author’s copyrighted manuscript (intellectual property is immediately copyrighted when published).

• Fair-sized house built of red Lyons Sandstone with the most god-awful-looking picket fence I’d ever seen.
• Small upstairs apartment on Newport Island, a tiny piece of land accessible only by a bridge so narrow, it would admit just one car at a time.
• The weather-beaten slat cottage sat at the far end of a mostly brown lawn. Wood silvered by the sun. Roof shingles warped. Small stands of plantain and giant bird-of-paradise for privacy. Despite the weathered appearance of the slat cottage, there was hope for its revival thanks to the services of a reliable local company specializing in affordable roofing solutions. If you too wish to safeguard your home against the elements and enhance its aesthetic appeal, going for this local company is the answer. Their dedication to quality and affordability ensures that your roof not only withstands weather challenges but also adds to the charm of your dwelling. With their assistance, the weather-beaten cottage could regain its former glory, proving that a reliable roofing projects can breathe new life into any home.
• Rambling old farm house
• Gleamed with the spotless silence of for-company-only.
• He leaned on the old boards. They felt thin and veined, frozen by a hundred winters, baked by a hundred summers. They smelled of dust and age. A big house from buy houses syracuse ny , the kind in which most American kids dreamed of growing up. Secluded among trees on one of DC’s most exclusive streets, it had turrets, gables, dormers, balconies, a screened-in front porch, a free-standing garage, a gazebo, a pool, formal gardents, the American dream.
• Sturdy two-story residence designed without the least imagination
• A set of sagging wooden steps descended three treads from the door

Contact an Industrial Cleaning Services provider if you’re managing an industrial facility or planning to sell a commercial property.

• A room barely big enough to exhale into
• A room that showed her lack of interest in anything to do with what people thought of her
• Small with clean white walls, a twin bed, a desk with a blank blotter on it, sliding closets opposite the bed, and thin green shag carpet. Or make a call to Zerorez to do this job professionally.
• My Writing Area: My computer faces out the window. I like having the sky and buildings in the background. Occasionally a bird or plane flies by in the distance. To my far left is my 42″ flatscreen TV (size does matter), which often displays my daily dose of CNN or Grey’s Anatomy. Next to that is my Buddhist altar, which I need to make better use of. To my right is a framed poster displaying a poem of mine that had been on Chicago buses and trains. And to the far right is a black and white picture of Grand Central Station with wide beams of light gushing in through the windows. The beams look like they are about to make the commuters levitate at any minute and float skyward. A single light burned, casting light on a chintz couch and an antique Quaker chair
• Improvised kitchenette off to one side
• Walls and ceilings were covered with mirrors, a high-tech bordello.
• Furnishings were cheap, black-painted. A worn mustard-yellow bean-bag chair, a relic of the seventies. An old tape deck and a towering set of speakers whose cloth was fraying
• A front door that could accommodate a family of giraffes.
• A foyer that would accommodate the Serengeti Plant at the foot of a vast curving staircase that probably went to heaven
• Polished wood floors and a graceful banister that curved up toward a soaring second floor gallery.
• Persian rug cove red a shopworn carpet.
• Prints of gentlemen riding to hounds decorate the walls.
• Crumbling rock walls
• Beautiful high arched windows
• Velvet drapes framed the windows, the lace inner curtains remained drawn, allowing daylight to enter while rendering the heart-stopping view over the city a blur
• bay windows
• two tall windows allowed sunlight to flood the room
• the windows flanked a grey fabric sofa, burgundy throw
• sheer lace curtains bordered by heavy burgundy drapes matching

Click for the complete list of 70 69 writer’s themed descriptions .

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Jacqui Murray

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A Quick Writer’s Guide to Describe Interiors

Creating immersive descriptions of indoor spaces is more than just scene setting —it’s an invitation to the reader to step into your world. Describing the interior of buildings with vivid detail can draw readers into your narrative. So let’s explore how to describe interiors using multiple sensory experiences and contexts.

• Lighting: soft glow of lamps, harsh fluorescent lights, or natural light.
• Colour and textures; peeling paint, plush velvet, or sleek marble.
• Size and scale: is it claustrophobically small or impressively grand?
• Architectural features: high ceilings, crown mouldings, or exposed beams.
• Furnishings: are they modern, sparse, antique, or cluttered?
• Style and decor: what style is represented, and how does it affect the atmosphere?
• State of repair: is the space well-kept, neglected, or under renovation?
• Perspective and layout: how do spaces flow into each other?
• Unique design features: describe sculptural elements, or things that stand out.
• Spatial relationships: describe how objects are arranged—what’s next to, across from, or underneath something else?
• Describe echoes in large spaces or the muffled quality of sound in carpeted or furnished rooms.
• Note background noises; is there a persistent hum of an air conditioner, or the tick of a clock?
• Describe the sound of footsteps; do they click, scuff, or are they inaudible?
• Include voices; are they loud and echoing or soft and absorbed?
• Is there music? Is it piped in, coming from a live source, or perhaps drifting in from outside?
• Capture the sounds of activity; typing, machinery, kitchen noises, etc.
• Describe natural sounds; birds outside the window, or the rustle of trees.
• Consider sound dynamics; is the space acoustically lively or deadened?
• Include unexpected noises that might be unique to the building.
• Consider silence as a sound quality. What does the absence of noise convey?
• Identify cleaning products or air fresheners. Do they create a sterile or inviting smell?
• Describe cooking smells if near a kitchen; can you identify specific foods?
• Mention natural scents; does the room smell of wood, plants, or stone?
• Are there musty or stale smells in less ventilated spaces?
• Note the smell of new materials; fresh paint, new carpet, or upholstery.
• Point out if there’s an absence of smell, which can be as notable as a powerful scent.
• Consider personal scents; perfume, sweat, or the hint of someone’s presence.
• Include scents from outside that find their way in; ocean air, city smells, etc.
• Use metaphors and similes to relate unfamiliar smells to common experiences.
• Describe intensity and layering of scents; is there a primary scent supported by subtler ones?
• Describe people’s actions; are they relaxing, working, hurried, or leisurely?
• Does the space have a traditional use? What do people come there to do?
• Note mechanical activity; elevators moving, printers printing, etc.
• Include interactions; are people talking, arguing, or collaborating?
• Mention solitary activities; someone reading, writing, or involved in a hobby.
• Capture movements; are there servers bustling about, or a janitor sweeping?
• Observe routines and rituals; opening blinds in the morning, locking doors at night.
• Include energetic activities; perhaps children playing or a bustling trade floor.
• Note restful moments; spaces where people come to unwind or reflect.
• Describe cultural or community activities that might be unique to the space.

Decorative style

• Describe the overall style; is it minimalist, baroque, industrial, or something else?
• Note period influences; does the decor reflect a specific era or design movement?
• Include colour schemes and how they play with or against each other.
• Mention patterns; on wallpaper, upholstery, or tiles.
• Describe textural contrasts; rough against smooth, shiny against matte.
• Observe symmetry or asymmetry in design.
• Note the presence of signature pieces; a chandelier, an antique desk, or a modern art installation.
• Mention thematic elements; nautical, floral, astronomical, etc.
• Describe homemade or bespoke items that add character.
• Include repetitive elements; motifs that appear throughout the space.
• Mention historical usage ; was the building repurposed, and does it keep its original function?
• Describe architectural time periods; identify features that pinpoint the era of construction.
• Note changes over time; upgrades, downgrades, or restorations.
• Include historical events that took place within or affected the building.
• Mention local or regional history that influenced the building’s design or function.
• Describe preservation efforts; are there plaques, restored areas, or visible signs of aging?

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buildings - quotes and descriptions to inspire creative writing

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From golden stone to monochrome, the tall towers of the city stand in resolute togetherness all the year round.

Centuries of grand design and sculpture came together in the wide avenues to form that eclectic yet peaceful cityscape.

These tall buildings, so different from one another, are so very content to reflect the beauty of each neighbour.

A community of buildings stood tall together in the city centre, reflecting both the blue and the clouds of white-silver hue.

The buildings galloped up to the clouds and they had entire floors dedicated to play. There were slides to go down several floors at a time, they had elevators too but fun was thought so important that those were added too. Then there were the pods that moved on rails around the outside, not for transport but more as a sort of wild fairground ride. Then there were the parts that transferred wind and solar energy to electricity, and the floors that were parks with benches and butterflies. They had the community restaurants, the movie theatres and bowling ally's. They were fun and we all lived in them, quite forgetting what the word "lonely" meant.

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Creative Adjectives to Describe Interesting Buildings

Table of Contents

Buildings are a very mundane sight when you’re living in the city. And they may not seem like the most exciting subject, but they can be with the right  adjectives to describe a building . We’ve listed some of the best adjectives that can help you describe buildings in a vivid and interesting way. These are sure to come in handy when writing an essay about the city you’re living in.

Aside from a long list of adjectives, this article will also touch on the definition of adjectives and some tips on writing your description. We have so much important stuff to discuss, so let’s get into it! 

What Are Adjectives?

When describing a building or virtually any object, you’ll need the help of adjectives. The primary function of these words is to describe the characteristics of the noun or pronoun in your sentence. These characteristics can include size, shape, color, and other features.

Adjectives add more meaning to your sentences and create more vivid pictures in your reader’s head . This will make it easier for them to visualize what you’re talking about. 

Quick Tips for Describing a Building

Describe the prominent features.

There are many elements to a building that you can use to describe it. Talk about the exterior and interior features that can make it unique and interesting. Include any stand-out features of the building, such as a special roof or a beautiful view.

Some other things to consider for describing a building’s exterior are the shape, color, style, and material used. Also, consider the architectural elements included in the building, such as windows, doors, and balconies.

Paint a Picture Using Multiple Adjectives

Sometimes, one adjective isn’t enough to paint a clear picture of your subject. In the case of building descriptions, you can opt to use multiple adjectives in a single sentence to make it more comprehensive.

For Example:

The building was made of brick with a  tall  roof,  old-fashioned  doors, and  weathered  paint.

Use Comparisons

A good comparison can help the reader understand your description better. Instead of just saying that the building is tall, try saying:

Looking up at the  towering  skyscrapers, we all felt like  miniature  ants.

Adjectives to Describe a Building

• Abandoned : No longer used or occupied.

The abandoned building is an eerie sight.

• Ancient : very old

The fire destroyed the ancient buildings.

• Bright : full of light

It was a bright building thanks to its many windows.

• Clean : free from dirt

The clean lobby of the building was spotless.

• Complex:  made of many interconnected parts

This complex building took several years to build because of its design.

• Damaged : harmed or broken

The storm left the building damaged beyond repair.

• Dark : not having enough light

It was a spooky and dark room.

• Dirty : covered in dirt

The balcony of the dirty building was filled with leaves.

• Empty : has no tenants or occupants.

Mysterious sounds haunted the empty building.

• Large : big in size

Large skyscrapers filled the city sky. They were hard to miss.

• Modern : has an up-to-date design and structure.

The modern building was equipped with solar panels.

• Refurbished : renovated and repaired. 

Many houses were refurbished with new paint and furniture.

• Towering:  extremely tall, especially when compared to the surroundings.

Many tourists were astonished at the towering buildings.

• Well-built : solidly constructed

The well-built building withstood the hurricane.

Other Interesting Adjectives Related to Buildings

• Melancholic
• Magnificent
• Dilapidated
• Ruined 

When describing a building, try to pay attention to its details. Describe the building’s characteristics, such as size, shape, and color.

There are so many  adjectives to describe a building  that you can use to spice up your description . Make sure to choose the right ones that truly fit the building you are describing.

Abir Ghenaiet

Abir is a data analyst and researcher. Among her interests are artificial intelligence, machine learning, and natural language processing. As a humanitarian and educator, she actively supports women in tech and promotes diversity.

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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

This free worksheet will help you write multi-dimensional, believable characters that leap off the page.

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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Describing Architecture in Writing: Tips for Successful Essay Writing

At times, the main learning problem of a student is a certain academic subject. For example, many students have problems with writing essays on architecture. It is a very interesting and important field of human activity. All the buildings that surround us are the products of architects and engineers. Therefore, architecture should be taken seriously. Some students believe that it is too complicated for academic writing.

An academic writing expert and famous blogger, Lauren Bradshaw, has an interesting opinion about this crucial matter.  She is employed at CustomWritings , which is a highly reputed essay writing company that hires only the best academic experts online. Accordingly, we can trust the experience of Lauren. Here is what she says: “You should not take architecture as something complicated. It is enough to know the specifications of this direction. When it comes to writing essays in this direction, simply stick to the common rules of essay writing” . The author tells us to simply use common writing methods. No matter what subject you cover, they are universal and work for every academic direction perfectly. We will highlight them in our informative guide.

Know What to Write About

A good topic is half of the successfully written essay. That is why you are expected to select it carefully. One of the best topics for architecture essays is the existing styles. There are 15 of them, and so each is popular and interesting to write about. Make allowances for the next styles in architecture:

• Neoclassical;
• Greek Revival;
• Industrial;
• Arts and Crafts;
• Contemporary;
• Beaux-Arts;
• Italianate.

Be sure to research whatever style you opt for. It is crucial to know all its peculiarities, differences, and similarities compared to other styles, history of development, value, and so on.

Have a Regular Practice

No matter what topic you opt for, your writing skills are supposed to be advanced to meet the tough demands of academic writing. You ought to polish them every day for at least 2 hours every day. Try various writing techniques to be armed with all the necessary methods and knowledge.

Be sure to learn theories as well. They can be found in various educational materials. Find them on the Internet and read them for free. You may find vital tips and tricks in:

• Textbooks, etc.

You may find them on such sites as WikiHow, Google Scholar, and so on.

Write a Strong Thesis Statement

When you write a good thesis statement, you have the foundation of the entire project. It is a one-sentence statement, which clarifies the main purpose of your essay. You may build the entire project around this crucial statement.

Be sure it is clear and straight to the point. You should not write such sentences as: “Architecture is important”. Your thesis statement should be something like these variations:

• Comparison between classical and neoclassical architecture helps to understand the development of the industry.
• Architects make our lives convenient, safe, and vivid.

Remark: Mind that your thesis statement may be altered after you complete the essay. Perhaps the initial assumptions will be a bit different and so you will have to make some slight adjustments. Nevertheless, it will be the trunk of the tree. Other parts of the essay will be its branches and leaves.

Make It Readable

It is vital to make your text flow and be pleasant to the eye. This task is one of the most important parts of essay writing for any academic field. We would like to provide several universal tips to make texts be natural, logical, and comprehensive. Make allowances for the next essentials:

• Choose the right lexicon . Give heed to the words you use in your essay. They must belong to architecture. You should also avoid all unknown words, slang, and jargon. If you use a specific and narrow architecture term, be sure to explain it to your readers. Use exact and clear examples.
• Do not overuse the passive voice . It is better to stick to the active voice. Compared to passive constructions, it requires fewer words, and they are more dynamic to make the text livelier. Passive constructions suit better lab reports or research papers.
• Do not think with clichés . Your papers are expected to be original and creative. It is impossible if you use stereotypes and clichés. Avoid them at all costs.
• Make smooth transitions . You should make logical transitions to the next chapters of the story. You cannot end a thought abruptly. Be sure the next paragraph is a logical continuation of the previous one.
• Do not overload paragraphs with too many theses . You should not try to cram several claims into a single paragraph. Ideally, you should cover one sub-thesis at a time.

Use a Good Outline

The smartest students always have a plan when they write essays. A plan or an outline of an essay structures the entire text and makes you organized. Every time you forget about what comes next, you should only take a look at the plan to continue your writing. Your plan should consist of the following points:

• Main writing stages – introduction, main plot, and conclusion.
• Working tools – pens, papers, notebook, cell phone, tablet, etc.
• Deadlines – realistic timing for every section.
• Descriptions – what should be done in every section.

It is necessary to reread your paper at least twice or thrice. Thus, you will avoid potential drawbacks. When you revise your essays, you can spot weak argumentation, illogical concepts, grammar mistakes, and so on. Apply various methods of essay revision:

• Reading in the head, aloud, backward, etc.
• Checking with grammar checkers and editors.
• Ask others to read your essays.

Use Custom Writing Assistance

If you feel you cannot handle this task properly, you may use the help of a reliable custom writing agency. It surely has hundreds of professional writers who specialize in different academic fields, including architecture.

Their skills are advanced, and they know how to handle all essay types. Just tell what should be done, and a qualified expert will fulfill all your needs. Thus, you will get an A+ grade.

The Bottom Line

As you can see, the subject of an essay you write does not really matter. We have highlighted universal tips and tricks that help to complete essays in architecture successfully. If your command of the subject is high, and you know where to find relevant information, the process of writing will be an easy stroll in a local park for you.

By Liliana Alvarez

• Describing Architecture in Writing
• Architectural Essay
• Architecture Essay
• Tips for Successful Essay Writing
• Successful Essay Writing
• Essay Writing
• Architecture Essays

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Writing effective descriptions

“Description begins in the writer’s imagination, but should finish in the reader’s.”

- Stephen King

Descriptive writing is a powerful tool that adds life and depth to your writing. Effective descriptions breathe life into your ideas and put the reader in the scene where those ideas live. If I want to write about my experience living in Japan, the best way I can relate that to another person is through description: the smell of the food, the sounds of the city, the beauty of the landscape.

Show don’t tell

This is one of the most important things to remember when writing descriptions. Don’t tell your reader what it was like, show them. Paint a picture to help them feel what you want them to feel and see what you want them to see.

Telling: I walked into the dark, creepy basement.

Showing: Stepping down into the basement, I reached out my hands to guide me through the dark, and I tried to ignore the mysterious smells creeping up my nose.

A basement is just a room. A room isn’t inherently creepy. It’s the details, the dark, the smells, the weird noises, that make it creepy. Telling the reader something is creepy doesn’t make them feel it. Using descriptive language to highlight the creepy details does.

Deliberate word choice

Does “big” mean the same thing as “massive”? Does “run” mean the same thing as “dash”? Not exactly. Deliberate word choice can go a long way towards making your descriptions more vivid (Bachman, Barnhart, & Krenzke, 1997, p. 53-54).

Plain word choice: Shannon ran and picked up her son just before a car drove by. Vivid word choice: Shannon dashed across the yard, grabbing her son away from the street just before a car raced by.

Less is more

The best descriptions are simple and to the point. You want to sprinkle your descriptions throughout your writing so that they complement the message you’re trying to convey, not bury it. Long, meandering descriptions derail the reader’s focus so they’re only thinking about what you’re describing, not what you’re writing about (Murdick, 2011, p. 115-116).

One of the best ways to learn any skill is to watch people who do it well. Reading is just as important to developing your writing skills as actually writing. Here are a few examples of effective use of descriptive language.

"The Snows of Kilimanjaro” Ernest Hemingway

Hemingway is famous for his straight-to-the-point writing style. Notice how, without much flowery language, he is able to paint a clear picture of the scene where the story is taking place. He does this by not describing everything. He describes the significant details, and he lets the reader fill in the blanks in their mind.

"’I Lost Literally Everything’: Historic Town Cleans Up After Catastrophic Flooding” Debbie Elliot

A news story like this is often just a collection of facts: number people displaced, hurt, or killed; the amount of property damage; inches of rain; etc. The problem with this is, when a hurricane hits the U.S., every news outlet in the country is going to be writing that exact story. Instead, Elliot zoomed in on the effects of the storm on individuals, and in doing so, she made the story about people instead of a storm.

"American Weirdness: Observations From an Expat” Rachel Donadio

This is a story completely about details. Instead of talking about the overarching cultural differences between France and the U.S., Donadio focuses on the little things. This is effective because it’s how people experience the world. Although this piece was written for a major news organization, it could easily be submitted for a school assignment about an experience you had while traveling.

Bachman, L., Barnhart, D., & Krenzke, L. (Eds.). (1997). Write for college. Wilmington, MA: Great Source Education Group.

Donadio, R. (2018, Sep. 18). American weirdness: Observations from an expat. The Atlantic. Retrieved from https://www.theatlantic.com/international/archive/2018/09/expat-america- europe/570580/

Elliot, D. (2018, Sep. 17). ‘I lost literally everything’: Historic town cleans up after catastrophic flooding. NPR. Retrieved from https://www.npr.org/2018/09/17/648671344/historic-n-c-town-deals-with- flooding-after-florence-blows-through

Hemingway, Ernest. (1938). The snows of Kilimanjaro. University of Virginia. Retrieved from http://xroads.virginia.edu/~drbr/heming.html’

King, Stephen. (2002). On writing: A memoir of the craft. New York, NY: Pocket Books. Murdick, W. (2011). A student guide to college composition (2nd ed.). Fremont, CA: Jane Publishing Company.

Contributor: Tony DeFilippo

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10 Words that Describe an Abandoned House

By Ali Dixon

A house that is no longer inhabited can make a mysterious setting in a novel across so many genres. If you need  some words  that describe an abandoned house, use the following 10 as a source of inspiration.

1. Deserted

An area devoid of life ; a wild or forbidding place.

“The quiet house appeared completely  deserted , though they still approached it with significant caution.”

“The  deserted  house stood in the middle of the empty plain. The only signs of life were the sounds of mice scuttling and scavenging for what the previous owners had left behind.”

How It Adds Description

The word deserted often implies an intention when it’s used in this context. The people who used to live in the house you’re describing may have left it on purpose, and you can use that to make your readers feel unnerved as they read about it.

2. Desolate

Empty of inhabitants or life ; joyless or sorrowful, usually because of some kind of separation; lacking comfort or hope.

“The floorboard of the  desolate  house creaked under his feet as he explored the rooms.”

“While the other houses on the street teemed with life, this one was cold and  desolate. ”

When you use the word desolate to describe an abandoned house, this can help to make the house seem even more threatening. It can also give off a real sense of bleakness to your readers.

Reflecting or displaying discouragement or listlessness ; lacking in comfort or cheer; somber or gloomy.

“The inclement bad weather on the horizon made the house appear even more  dreary .”

“The moth-eaten curtains fell still as the breeze stopped, the atmosphere in the room suddenly becoming  dreary  again.”

Describing something as dreary will instantly set a cold and gloomy mood. If you want to make sure that your readers understand that this house is something completely devoid of any life, this is a good word to use. The dreariness of the house could also represent a lack of motivation or hope in your characters.

4. Derelict

Abandoned by an occupant ; voluntarily abandoned.

“The house used to be owned by a wealthy woman who had abandoned it some years ago. Now it stood empty and  derelict .”

“The  derelict  house had not been maintained, and she worried that it would fall apart with her inside.”

The word derelict implies that something has been abandoned purposefully, which can help add an ominous tone to your description. Perhaps something inside it was dangerous that forced the previous occupant to leave it behind which your character must now discover.

Not having anything in it; uninhabited or unoccupied.

“He could imagine the house in its heyday with beautiful decorations and plenty of visitors instead of the  empty  shell he saw before him now.”

“The owner had taken all of her things with her, leaving the house now completely  empty .”

The house you’re describing may literally have nothing inside it, which makes this word a great one to use to describe it. You can also use it to make it seem like it’s empty, and then have something surprise your characters and readers later.

6. Untended

Not managed or watched over .

“The plants in the house’s  untended  garden had been left to grow wild, and now vines completely covered the south side of the house.”

“The house was large enough to warrant cleaning staff, but since it had been abandoned it had been left completely  untended , and she doubted it would ever look the way it once had again.”

Describing the abandoned house you have in your story as untended can help readers feel as though there is almost something wild about it now that no one is caring for it.

Not well-kept ; lacking in quality; faded from wear.

“The house looked  shabby —it was clear that no one had lived in it in a long time.”

“The once comfortable and beautiful furniture had faded and become  shabby  with age and time.”

Shabby is a good word to use to describe the way that the abandoned house in your story looks. By describing it using this word, you’ll give readers the sense that it’s not a good-looking house or that it’s been neglected for some time.

8. Forgotten

Disregarded ; something that people have lost remembrance for; overlooked, sometimes intentionally.

“Whoever had been left in charge of caring for the house hadn’t done so in some time, and now the house appeared to be completely  forgotten .”

“To find the old journal, they would have to sift through the abandoned,  forgotten  house at the end of the street.”

Using the word forgotten tells readers that not only is this house abandoned, but the person or people meant to care for it have disregarded its existence entirely. You can imply a much more somber mood by using this word.

9. Forsaken

To forsake something is to turn away from it entirely ; forgotten.

“They were quick to help the man in need, but they left the house itself  forsaken .”

“The house had been  forsaken  long ago, and she wasn’t eager to investigate it now to see why.”

If you describe the abandoned house in your story as forsaken, your readers will immediately get the sense that this isn’t a house that’s simply been left behind. It’s something that was intentionally abandoned or turned away from for whatever reason.

10. Neglected

Not cared for or provided with the necessary attention .

“The house had obviously been  neglected  for some time, and it was now overrun with small animals and dust.”

“Even while they were living there, the previous owners had left the house  neglected , and now that it was abandoned it looked worse than ever.”

The word neglect implies an intentional act to leave something or to not care for it. If you use this word to describe the house in your story, you can also use it as a way to symbolize that the character looking at it may also feel neglected in some way.

A Guide to Descriptive Writing

by Melissa Donovan | Jan 7, 2021 | Creative Writing | 9 comments

What is descriptive writing?

Writing description is a necessary skill for most writers. Whether we’re writing an essay, a story, or a poem, we usually reach a point where we need to describe something. In fiction, we describe settings and characters. In poetry, we describe scenes, experiences, and emotions. In creative nonfiction, we describe reality. Descriptive writing is especially important for speculative fiction writers and poets. If you’ve created a fantasy world, then you’ll need to deftly describe it to readers; Lewis Carroll not only described Wonderland  (aff link); he also described the fantastical creatures that inhabited it.

But many writers are challenged by description writing, and many readers find it boring to read — when it’s not crafted skillfully.

However, I think it’s safe to say that technology has spoiled us. Thanks to photos and videos, we’ve become increasingly visual, which means it’s getting harder to use words to describe something, especially if it only exists in our imaginations.

What is Descriptive Writing?

One might say that descriptive writing is the art of painting a picture with words. But descriptive writing goes beyond visuals. Descriptive writing hits all the senses; we describe how things look, sound, smell, taste, and feel (their tactile quality).

The term descriptive writing can mean a few different things:

• The act of writing description ( I’m doing some descriptive writing ).
• A descriptive essay is short-form prose that is meant to describe something in detail; it can describe a person, place, event, object, or anything else.
• Description as part of a larger work: This is the most common kind of descriptive writing. It is usually a sentence or paragraph (sometimes multiple paragraphs) that provide description, usually to help the reader visualize what’s happening, where it’s happening, or how it’s happening. It’s most commonly used to describe a setting or a character. An example would be a section of text within a novel that establishes the setting by describing a room or a passage that introduces a character with a physical description.
• Writing that is descriptive (or vivid) — an author’s style: Some authors weave description throughout their prose and verse, interspersing it through the dialogue and action. It’s a style of writing that imparts description without using large blocks of text that are explicitly focused on description.
• Description is integral in poetry writing. Poetry emphasizes imagery, and imagery is rendered in writing via description, so descriptive writing is a crucial skill for most poets.

Depending on what you write, you’ve probably experimented with one of more of these types of descriptive writing, maybe all of them.

Can you think of any other types of descriptive writing that aren’t listed here?

How Much Description is Too Much?

Classic literature was dense with description whereas modern literature usually keeps description to a minimum.

Compare the elaborate descriptions in J.R.R. Tolkien’s  Lord of the Rings  trilogy  with the descriptions in J.K. Rowling’s  Harry Potter series  (aff links). Both series relied on description to help readers visualize an imagined, fantastical world, but Rowling did not use her precious writing space to describe standard settings whereas Tolkien frequently paused all action and spent pages describing a single landscape.

This isn’t unique to Tolkien and Rowling; if you compare most literature from the beginning of of the 20th century and earlier to today’s written works, you’ll see that we just don’t dedicate much time and space to description anymore.

I think this radical change in how we approach description is directly tied to the wide availability of film, television, and photography. Let’s say you were living in the 19th century, writing a story about a tropical island for an audience of northern, urban readers. You would be fairly certain that most of your readers had never seen such an island and had no idea what it looked like. To give your audience a full sense of your story’s setting, you’d need pages of detail describing the lush jungle, sandy beaches, and warm waters.

Nowadays, we all know what a tropical island looks like, thanks to the wide availability of media. Even if you’ve never been to such an island, surely you’ve seen one on TV. This might explain why few books on the craft of writing address descriptive writing. The focus is usually on other elements, like language, character, plot, theme, and structure.

For contemporary writers, the trick is to make the description as precise and detailed as possible while keeping it to a minimum. Most readers want characters and action with just enough description so that they can imagine the story as it’s unfolding.

If you’ve ever encountered a story that paused to provide head-to-toe descriptions along with detailed backstories of every character upon their introduction into the narrative, you know just how grating description can be when executed poorly.

However, it’s worth noting that a skilled writer can roll out descriptions that are riveting to read. Sometimes they’re riveting because they’re integrated seamlessly with the action and dialogue; other times, the description is deftly crafted and engaging on its own. In fact, an expert descriptive writer can keep readers glued through multiple pages of description.

Descriptive Writing Tips

I’ve encountered descriptive writing so smooth and seamless that I easily visualized what was happening without even noticing that I was reading description. Some authors craft descriptions that are so lovely, I do notice — but in a good way. Some of them are so compelling that I pause to read them again.

On the other hand, poorly crafted descriptions can really impede a reader’s experience. Description doesn’t work if it’s unclear, verbose, or bland. Most readers prefer action and dialogue to lengthy descriptions, so while a paragraph here and there can certainly help readers better visualize what’s happening, pages and pages of description can increase the risk that they’ll set your work aside and never pick it up again. There are exceptions to every rule, so the real trick is to know when lengthy descriptions are warranted and when they’re just boring.

Here are some general tips for descriptive writing:

• Use distinct descriptions that stand out and are memorable. For example, don’t write that a character is five foot two with brown hair and blue eyes. Give the reader something to remember. Say the character is short with mousy hair and sky-blue eyes.
• Make description active: Consider the following description of a room: There was a bookshelf in the corner. A desk sat under the window. The walls were beige, and the floor was tiled. That’s boring. Try something like this: A massive oak desk sat below a large picture window and beside a shelf overflowing with books. Hardcovers, paperbacks, and binders were piled on the dingy tiled floor in messy stacks.  In the second example, words like  overflowing  and  piled are active.
• Weave description through the narrative: Sometimes a character enters a room and looks around, so the narrative needs to pause to describe what the character sees. Other times, description can be threaded through the narrative. For example, instead of pausing to describe a character, engage that character in dialogue with another character. Use the characters’ thoughts and the dialogue tags to reveal description: He stared at her flowing, auburn curls, which reminded him of his mother’s hair. “Where were you?” he asked, shifting his green eyes across the restaurant to where a customer was hassling one of the servers.

Simple descriptions are surprisingly easy to execute. All you have to do is look at something (or imagine it) and write what you see. But well-crafted descriptions require writers to pay diligence to word choice, to describe only those elements that are most important, and to use engaging language to paint a picture in the reader’s mind. Instead of spending several sentences describing a character’s height, weight, age, hair color, eye color, and clothing, a few, choice details will often render a more vivid image for the reader: Red hair framed her round, freckled face like a spray of flames. This only reveals three descriptive details: red hair, a round face, and freckles. Yet it paints more vivid picture than a statistical head-to-toe rundown:  She was five foot three and no more than a hundred and ten pounds with red hair, blue eyes, and a round, freckled face.

10 descriptive writing practices.

How to Practice Writing Description

Here are some descriptive writing activities that will inspire you while providing opportunities to practice writing description. If you don’t have much experience with descriptive writing, you may find that your first few attempts are flat and boring. If you can’t keep readers engaged, they’ll wander off. Work at crafting descriptions that are compelling and mesmerizing.

• Go to one of your favorite spots and write a description of the setting: it could be your bedroom, a favorite coffee shop, or a local park. Leave people, dialogue, and action out of it. Just focus on explaining what the space looks like.
• Who is your favorite character from the movies? Describe the character from head to toe. Show the reader not only what the character looks like, but also how the character acts. Do this without including action or dialogue. Remember: description only!
• Forty years ago we didn’t have cell phones or the internet. Now we have cell phones that can access the internet. Think of a device or gadget that we’ll have forty years from now and describe it.
• Since modern fiction is light on description, many young and new writers often fail to include details, even when the reader needs them. Go through one of your writing projects and make sure elements that readers may not be familiar with are adequately described.
• Sometimes in a narrative, a little description provides respite from all the action and dialogue. Make a list of things from a story you’re working on (gadgets, characters, settings, etc.), and for each one, write a short description of no more than a hundred words.
• As mentioned, Tolkien often spent pages describing a single landscape. Choose one of your favorite pieces of classic literature, find a long passage of description, and rewrite it. Try to cut the descriptive word count in half.
• When you read a book, use a highlighter to mark sentences and paragraphs that contain description. Don’t highlight every adjective and adverb. Look for longer passages that are dedicated to description.
• Write a description for a child. Choose something reasonably difficult, like the solar system. How do you describe it in such a way that a child understands how he or she fits into it?
• Most writers dream of someday writing a book. Describe your book cover.
• Write a one-page description of yourself.

If you have any descriptive writing practices to add to this list, feel free to share them in the comments.

Descriptive Writing

Does descriptive writing come easily to you, or do you struggle with it? Do you put much thought into how you write description? What types of descriptive writing have you tackled — descriptive essays, blocks of description within larger texts, or descriptions woven throughout a narrative? Share your tips for descriptive writing by leaving a comment, and keep writing!

Further Reading: Abolish the Adverbs , Making the Right Word Choices for Better Writing , and Writing Description in Fiction .

I find descriptions easier when first beginning a scene. Other ones I struggle with. Yes, intertwining them with dialogue does help a lot.

I have the opposite experience. I tend to dive right into action and dialogue when I first start a scene.

I came across this article at just the right time. I am just starting to write a short story. This will change the way I describe characters in my story.

Thank you for this. R.G. Ramsey

You’re welcome!

Great tips and how to practise and improve our descriptive writing skills. Thank you for sharing.

You’re welcome, Bella.

Hello Melissa

I have read many of your articles about different aspects of writing and have enjoyed all of them. What you said here, I agree with, with the exception of #7. That is one point that I dispute and don’t understand the reason why anyone would do this, though I’ve seen books that had things like that done to them.

To me, a book is something to be treasured, loved and taken care of. It deserves my respect because I’m sure the author poured their heart and soul into its creation. Marking it up that way is nothing short of defacing it. A book or story is a form of art, so should a person mark over a picture by Rembrandt or any other famous painter? You’re a very talented author, so why would you want someone to mark through the words you had spent considerable time and effort agonizing over, while searching for the best words to convey your thoughts?

If I want to remember some section or point the author is making, then I’ll take a pen and paper and record the page number and perhaps the first few words of that particular section. I’ve found that writing a note this way helps me remember it better. This is then placed inside the cover for future reference. If someone did what you’ve suggested to a book of mine, I’d be madder than a ‘wet hen’, and that person would certainly be told what I thought of them.

In any of the previous articles you’ve written, you’ve brought up some excellent points which I’ve tried to incorporate in my writing. Keep up the good work as I know your efforts have helped me, and I’m sure other authors as well.

Hi Stanley. Thanks so much for sharing your point of view. I appreciate and value it.

Marking up a book is a common practice, especially in academia. Putting notes in margins, underlining, highlighting, and tagging pages with bookmarks is standard. Personally, I mark up nonfiction paperbacks, but I never mark up fiction paperbacks or any hardcovers (not since college).

I completely respect your right to keep your books in pristine condition. And years ago, when I started college, I felt exactly the same way. I was horrified that people (instructors and professors!) would fill their books with ugly yellow highlighting and other markips. But I quickly realized that this was shortsighted.

Consider an old paperback that is worn and dog-eared. With one look, you know this book has been read many times and it’s probably loved. It’s like the Velveteen Rabbit of books. I see markups as the same — that someone was engaging with the book and trying to understand it on a deeper level, which is not disrespectful. It’s something to be celebrated.

Sometimes we place too much value on the book as a physical object rather than what’s inside. I appreciate a beautiful book as much as anyone but what really matters to me is the information or experience that it contains. I often read on a Kindle. Sometimes I listen to audio books. There is no physical book. The experience is not lessened.

I understand where you’re coming from. I used to feel the same way, but my mind was changed. I’m not trying to change yours, but I hope you’ll understand.

You’ve provided some great information and advice. One thing I might add–it is helpful to consider the POV character. For example, what will they notice in a restaurant? A police officer may notice the placement of the exits, the tattooed man carrying a side-arm, the security cameras on the ceiling, etc. The descriptive items he would notice would be very different from those of an elderly grandmother or a fifteen-year-old teenaged girl.

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What are some ways of extending a description of a scenery?

I find it very hard sometimes to describe a scenery, especially when the features are very bland, like you describe a city where all of the buildings are tall and look about the same or a plain with green grass with a sprinkle of green leafy trees. What are some ways of extending a descriptive paragraph?

• creative-writing
• description
• 1 Perhaps a good example of this in work is "there will be blood" by cormac McCarthy. Ill find some examples when im off the bus. –  akozi Commented Feb 24, 2019 at 19:54
• 1 Hardy uses a trick where he imagines how the landscape might appear to a bird. Anyway, his depctions of landscape are fantastic. –  Strawberry Commented Feb 25, 2019 at 11:41
• 1 If you'd like to read some examples of evocative scenery in short fiction, I'd suggest short stories by H.P. Lovecraft. I'm no Lovecraft historian or even super-fan, but some stories that come to mind are, The Music of Erich Zann ; The Cats of Ulthar ; The Outsider ; The Rats in the Walls ; Cool Air ; The Colour Out of Space . Many of these are available free online, e.g., en.wikisource.org/wiki/The_Outsider and en.wikisource.org/wiki/The_Cats_of_Ulthar –  kayleeFrye_onDeck Commented Feb 25, 2019 at 21:31

4 Answers 4

When describing the scenery, your goal isn't only to convey dry information (there are houses, there are trees, etc.). Your goal is to evoke some emotion, some feeling. Your key to extending the description of the scenery is therefore in what feeling you wish to evoke.

For example, I look at a desert - miles and miles of yellow dunes stretching before me. All same-y, you could say. But how do I feel? Am I in awe of the beauty, the colours, the magnificence and sheer size of God's creation? In such a case, description would focus on the colours, the play of light and shade, the changing patterns of the sand. Am I apprehensive, because I need to cross this desert, and there's the risk of getting lost, and while I should have enough water, I can afford no accidents, and who knows what's hiding in there? In such a case, the description would focus on the heat, and how I can see nothing but sand stretching to the horizon, and the sun beats on my face (a violent verb).

If you describe a city, are the buildings tall and oppressive, the streets narrow, the air stifling, do you feel small, do you feel you do not belong in this city? Or are the tall buildings straining to touch the sky, a proud testimony to man's ingenuity, and you're excited to walk among them?

If you're describing "home", do you wish to evoke a sense of comfort and warmth, or a sense of boring familiarity one's eager to leave on an adventure?

Start from what you wish to evoke, and then find in the scenery the elements that support that feeling . You can use sight, sounds, smell, temperature, your character can be reminded of something, but it all should paint one image, one emotion.

• 2 I think that last part is really important. I've read a lot of books where the author just focuses on the visual appearance when describing things but I find descriptions far more interesting when they include the other senses. I think it gets you into the world the author creates, as opposed to just looking at it. –  user29717 Commented Feb 25, 2019 at 11:06

+1 Galastel. I would add to her answer memories. If my MC has never seen it before, how does what she see connect in her memory?

What has she been told about this place? By whom?

If she has been here before, what was the occasion? How has it changed since then? You give the reader a sense of time this way. It's been five years, and these houses out here occupy what was empty farmland. That skyscraper is new. This street has been widened. It's dirtier than she recalled, the wind liberating scraps of paper from overflowing trash cans. Or was she just inured to the filth back then? Perhaps she had become spoiled, living in the Capitol.

She can remember these things, and filter the details through her own life experience. Your description doesn't have to be just raw description of the setting. Consider that (just raw description) as similar to a wall of dialogue. The wall of dialogue can be under-imagined, it leaves out the setting, the people moving, thinking, remembering and feeling, their physical actions.

Just description can be similar. You aren't painting a picture, you have a mind looking at a picture. Just the description can be under-imagined because you aren't imagining what these visions are doing to your character. Like talking, Viewing can be presented as an active experience influencing the mood, feelings, memories and plans of the viewer.

So anchor your writing in description of the setting, but in a character-influencing way. Consider her personality: What is she looking for in this landscape?

If she has been a soldier all her life, she may be naturally looking for threats, for ambush points, for people. For water, food or supplies. I would detail what she sees through the lens of somebody always assessing a landscape in anticipation of battle, places of safety, lairs for ambush, lines of sight, defensible positions and gravitating to explore those first, even if she is in no immediate danger -- That's just how her mind works; threat assessment first.

If you have multiple characters viewing this spectacle, they are all affected by it, and each have their own personality and memories. They can have a conversation about that -- but again remember to anchor it in descriptions of the setting, so their conversation is driven by observations about the setting and the memories and emotions it triggers in them.

When describing scenery is coming out a little flat, I try to add a few specific items to be descriptive about. I usually pick three or seven because they are magic numbers (depending on how much detail I think the scene needs added to it) and I try to be specific.

For example, in my city, with tall buildings that all look the same, I may describe a storefront window, or a wall with graffiti on it (maybe layers of graffiti), or a broken fire hydrant leaking water into the street, or the potholes, or a homeless panhandler, or some shiny mural that there city recently had an artist put up.

These details will start to give your reader something to visualize as you talk about your scene, and you can use them as landmarks at other points in the story.

Not only will this give your scene some uniqueness, but it will set a mood and tone for your story. The homeless guy evokes different emotions than a beautiful mural, and graffiti something else. Do you want your city to be run-down and drab, or lovely and colorful?

The nice thing about these little specifics is they can be used to add symbols with extra layers of meaning. Or foreshadowing. Or any literary device you can think of. For instance, won't it be poetic, when later in the story a fire breaks out and the fire department shows up, but the hydrant is broken? The storefront you described burns while they find an alternate, but they manage to stop the fire just before it reaches the mural, which happens to depict the aftermath of a major fire from one-hundred and eighty-seven years ago.

When scenery reflects the character's state of mind, it's a blurring of the narrative voice from an "impartial" narrator, to a biased "character-filtered" representation of the world.

Jane Austin's Free Indirect Speech is third-person omniscient, but changes the narrator into the unspoken opinions of various characters. Extremely biased and contradictory statements are made matter-of-factly by the narrative voice.

H P Lovecraft piles on character-biased descriptions of flora and fauna, "unnatural" colors, sinister locals, etc. Things that are otherwise mundane or unexplained take on thematic significance through their sinister descriptions.

Scenery is never just scenery. It's an external representation of the character's internal landscape.

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Struggling with describing buildings

I'm currently in the middle of writing a novel for a contest. Everything is going great except for when it comes to describing physical space, especially buildings

It's really hard for me to paint a detailed enough picture with words and default to basic adjectives like tall, rectangular, brutalist, etc. Or saying "it looked like a Lloyd Wright building" or "a Bauhaus building." I feel this is lazy. Same thing thing with materials, the ones I know are the most basic, concrete, brick, wood.

And further, the different types of building. In my head I picture, say, a four-story brown residential building next to a massive hospital- or museum-like building, but end up writing lame stuff like "the big white building next to the smaller brown building," with no specificity. I switch sometimes to "construction," and that's as much variance as I can muster. And differentiating them by use (museum/hospital/bank/corporate building) it's not helpful either because their designs vary a lot too.

I wish I could just put a picture there.

I know there are many books on architecture I could check out but I'm only asking here because the deadline is by the end of June.

I've also checked out architecture and construction dictionaries and the like, but most of them don't come with picture and have thousand of entries. I tried DK Ching's visual dictionary but it wasn't very helpful, especially when it comes to materials.

tldr: Is there any quick reference resource for the different types of building and construction materials that exist, that is writer and image focused? A "writer's visual dictionary" would be ideal. Or could I be pointed to an author that's very architecture focused?

PD: I write in Spanish, but any guide in English or French even is welcome.

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Young Architect Guide: 10 Tips for Writing About Architecture

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It is a debate that has raged for decades among architects and architectural journalists alike: How can words encapsulate the intricacies of the built environment without becoming stuck in a quagmire of esoteric soundbites and pretentious clichés? Writing for Architectural Record , renowned critic Robert Campbell coined the word “ArchiSpeak,” a compound word that has come to define the obscure and alienating language that architects are frequently accused of using when describing their work to clients and the wider public.

Thankfully, Phaidon’s book 10x10_3 — an expansive volume on emerging architecture firms by 10 preeminent writers — goes to show that it is in fact possible to succinctly write about buildings and their designers while remaining engaging to those outside the realm of architectural design. Exploring the texts by this distinguished lineup of journalists, editors, curators and architects, certain stylistic traits and linguistic devices can be picked out that serve as a guide to how good architectural writing can emerge. Here are 10 pointers for your consideration:

Bakkegard School by CEBRA

1. Take a Personal Perspective

Bart Goldhoorn — founder and publisher of Russia’s leading architecture journal Project Russia — instantly engages readers by conjuring up intimate imagery and adopting an unusual first-person perspective. He confronts his own preconceptions when describing the refreshing approach of the avant-garde designers at CEBRA :

“A decade ago, when reflecting upon Danish architecture, I imagined quiet, pipe-smoking, corduroy-clad men, a bit dull perhaps, producing responsible and ecologically sound architecture with a light postmodern touch. At best one could expect neat modernism. The architects of CEBRA … do not fit this image of Danish architects.”

Goldhoorn paints a detailed picture of an architectural stereotype before smashing it to smithereens, waxing lyrical about the “wild landscape” and “spectacular, multifaceted” spaces of CEBRA’s Bakkegard School extension in Gentofte, Denmark. The writer’s honesty and personal perspective adds clout to the visceral project description that follows.

Agriculture School by OFFICE Kersten Geers David Van Severen

2. Harness Visceral Imagery

As a highly visual construct, architecture is best framed by words that conjure emotive images in the mind of the reader. London-based writer and curator Shumon Basar — a former employee at Zaha Hadid Architects — describes an installation by OFFICE Kersten Geers David Van Severen using highly evocative language:

“Hundreds and thousands of brightly colored confetti were strewn across the floor, a carpet of delicately disorganized paper detritus. A few black chairs were scattered about. The rest of the pavilion seemed empty, almost abandoned, bereft of the usual feverish desire to explain, show off, divulge, or disclose.”

This poetic observation of After the Party — an artwork examining the fleeting nature of the Venice Architecture Biennale — alludes to the wider philosophies of this experimental practice, encouraging us to mentally immerse ourselves within the firm’s multilayered works.

The Mountain by Bjarke Ingels Group

3. Ask Rhetorical Questions

While most architectural journalists will be wary of Betteridge’s law — “Any headline that ends in a question mark can be answered by the word no ” — there are some instances in which questions can be utilized to strengthen an argument. New York–based architect and critic Joseph Grima’s introduction to his analysis of BIG ’s rise to prominence is a case in point:

“To understand the true measure of the accomplishments of Bjarke Ingels … consider this: when was the last time reporters from every corner of the world were seen scrambling to cover the opening of a building by a thirty-three-year-old architect?”

This question need not be answered, of course; it is intended purely to emphasize BIG’s unparalleled achievements for such a young firm. Grima takes great joy in describing the concepts behind the firm’s seminal Mountain housing project, recounting BIG’s ingenious idea to “spread the housing on top of the parking like jam on bread.”

Leaf Chapel by Klein Dytham Architecture

4. Master Metaphors and Similes

When trying an unfamiliar food, we often ask the question: “What does it taste like?” Seeking clarity via comparison appears to be an instinctive human characteristic, and this characteristic also applies to architecture, for which metaphor and simile can provide valuable insight into the subtle qualities of a space. Andrew Mackenzie, the editor-in-chief of Architectural Review Australia, illustrates this point with his description of a project by Klein Dytham Architecture :

“A good example is the Leaf Chapel in Kobuchizawa, a wedding chapel conceived as two leaves. One is glass and stationary, the other perforated white steel that lifts as the groom lifts his bride’s veil.”

For the vast majority of readers who will never have the chance to stand inside the chapel themselves, references to leaves and the bridal veil offer a tangible vision of the building’s unique features.

SGAE Headquarters by Antón García-Abril and Ensamble Studio

5. Use Personification

Beyond describing physical attributes of architecture, more abstract, playful adjectives and idioms can enliven your writing and elevate it above purely academic prose. Architect and professor Carlos Jimenez utilizes such linguistic gymnastics to great effect in his article on the extraordinary SGAE Headquarters by Antón García-Abril and Ensamble Studio :

“The SGAE is a porch-like building whose elongated screen wall is a marvelous concoction of tumbling and irregular granite pieces, all held captive in a resilient dance of weight, light and gravity.”

Words and phrases such as “tumbling,” “held captive” and “dancing” lend the architecture dynamic, human-like qualities, encapsulating the drama of a building full of tension, weight and theatrical contrasts in scale.

QVII apartment building by McBride Charles Ryan; image courtesy MCR

6. Set the Scene

A carefully crafted description of a building’s context can provide a wealth of insight into the social, economic and cultural backdrop of a project in a single sentence. Andrew Mackenzie’s introduction to McBride Charles Ryan ’s QVII apartment building is a classic example:

“In a suburb of Melbourne, amid the quaint worker cottages interspersed with bulky max-lot town-houses and Regency style rip-offs, stands a small haven of sheltered accommodation, a budget job of plain, unaffected language.”

Having set the scene with a series of en pointe adjectives, Mackenzie goes on to describe the “material versatility and civic countenance” of the project, which is given extra resonance by that vivid description of the surrounding context.

Seoul Commune 2026 by Minsuk Cho; image courtesy Mass Studies

7. Kick Off With a Quote

While this “play” shouldn’t be repeated too often, opening with a quote can add real impact to an essay on an architect’s work, particularly if that architect makes an impactful statement that can provide telling context for the subsequent article. Take the case of Minsuk Cho of Mass Studies , whom Joseph Grima quotes at the outset to instantly engage readers with the plight of the youth in his home country:

“I think there is a struggle going on in the minds of the younger generation,” Minsuk Cho observed in a recent interview, speaking of the challenges facing architects in his native Republic of Korea. “What is ‘Korean-ness’ at this moment in time? What is our relationship to this tradition, to the architectural identity of this culture?”

Grima goes on to outline Cho’s search for the answer to these questions using radical projects such as Seoul Commune 2026, a vision of the future for this fast-changing metropolis. The opening, straight from the source, instantly captures the ambitious, ‘big picture’ thinking of this groundbreaking Korean firm.

Art Deco; i mage courtesy ArandaLasch

8. Apply Some Dry Wit

The satirical geniuses of Design With Company have shown us that architecture can be funny , but there are also plenty of opportunities to use some dry wit to add impact to your argument and make it more memorable, to boot. Shumon Bazar’s opening gambit for his piece on ArandaLasch is a case in point:

“If ornament remains a crime, exactly 100 years after Adolf Loos made the accusation, then ArandaLasch is guilty as charged. However as everyone knows, crime pays.”

This clever commandeering of an old modernist adage takes a playful swipe at the common theoretical hangups of many architects while immediately framing ArandaLasch as mischievous rebels of the profession. This framing not only brings a wry smile to one’s face, it is also adds weight to the rest of Bazar’s piece on this avant-garde studio’s experimental work.

Dancing Trees, Singing Birds, Tokyo, Japan; image courtesy Hiroshi Nakamura & NAP Architects

9. Inject Emotion

As any architect who has worked through the night to complete a project before their deadline will tell you, architecture is an emotional business, but, beyond the travails of the studio, great buildings engender bursts of inspiration, passion, delight, even love. Architect Kengo Kuma identifies this strength of emotion in the work of Hiroshi Nakamura & NAP Architects :

“The most important part of falling in love is not to explain why, but to sing the praises of one’s beloved, and Nakamura does exactly that. When he fell in love with wood, for example, he built a gabled shape that resembles a wooden cottage on an island. This was because he knew that a love song for wood could best be expressed through shape.”

Kuma’s emotive language captures the poetic undercurrents within Nakamura’s work and succinctly describes how they become physically manifested within each project.

Ai Weiwei with his Sunflower Seeds installation at Tate Modern, London, United Kingdom; image via Zimbio

10. Do It Your Way

While there is clear value in understanding the benefits of an expressive vocabulary, good sentence structure and succinct language when writing about architecture, there is also an argument in favor of creative freedom. The built landscape is so complex that each one of us perceives it differently, and this variety can make for powerful and often provocative prose. On the final page of Phaidon’s book, Chinese artist Ai Weiwei ’s reflection on the role of architects in relation to the 2008 Sichuan Earthquake provides a potent example:

“Architects do not cause human need; architects merely write the lyrics that make life’s song something we want to listen to. And some architects become the candlelight and sweet whispers that accompany the rape of the environment.”

Weiwei’s loaded choice of words causes us to question our preconceptions not only about language, but about architecture itself. His tone is at once poetic and confrontational, full of visceral force. While one may not agree with the artist’s viewpoint, one thing is clear: This style of writing sticks in the mind long after one closes the book.

Want to see more architecture critics’ favorite projects? Check out Phaidon’s book 10x10_3 .

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Guides • Perfecting your Craft

Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

About Rebecca van Laer

Rebecca van Laer is a writer, editor, and the author of two books, including the novella How to Adjust to the Dark. Her work has been featured in literary magazines such as AGNI, Breadcrumbs, and TriQuarterly.

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

Want to give short story writing a go? Give our free course a go!

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Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

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• writing a novel

vyleside New Member

Describing buildings: is it necessary.

Discussion in ' Setting Development ' started by vyleside , Sep 8, 2008 .

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); I'm currently working on writing a novel. Right now, I'm writing a section that's describing an old news report that takes place outside a police station. I'm torn between describing the building (which I am terrible at, as I have no knowledge of architecture) or just describing it as a "police station". If I go with the former, I can imagine readers getting more confused at my clumsy attempt at describing the building, whereas if I go with the latter, readers will instantly be able to imagine what a police station looks like. The downside for me is that by avoiding the issue, I know I'll get tripped up later on when I'm trying to describe a pretty important building to the story. So, two questions: 1) Do you feel it's better to sometimes bypass complex descriptions in favour of letting the reader create their own image (especially when it's a common object). 2) Do you have any tips/resources that will help with describing buildings? I'm using this picture as my point of reference for the station: http://www.you-are-here.com/building/police_station.jpg . How would you describe it? Thanks  

Nilfiry Senior Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); Well, if anything is going to happen there, you'll have to describe it, but if nothing happens in or around it, then just stick to police station. 1.) YEs, but only if the entire story would be better that way. 2.) No, Sorry.  

Cogito Former Mod, Retired Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); Only describe what is necessary for the purposes of the story. Let the reader's imagination fill in the majority of the details.  

tehuti88 New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); An ignorance of architecture doesn't mean you can't describe a building nicely. I suck at architecture...I don't know what all those terms are, nor what style buildings are in, unless it's something really generic (like "Victorian"...and I think that's the only style I kind of recognize!--when people say stuff like "Colonial" or "Craftsman," I haven't a clue what it looks like). Just say perhaps what material the building is made out of...its general shape and color...its size...and anything that stands out as unusual. For example, our local police station, I might say something like, "It was a small, squarish, red-brick building with a parking lot off to the side." If there's something really weird about a building I'd mention that: "The county museum had bars over the windows, seeing as it was once the old county jail." Notice I didn't get indepth on any styles or architectural terminology there? I didn't look at the police station in your link, so maybe going on that you can figure out how to describe a building. The majority of readers probably aren't savvy on architecture terms and styles either. Just using a basic description might actually work better than using all the complex terminology because I know such an advanced description would quickly lose me. As the others have said, don't feel you NEED to go indepth describing the place unless knowing what it looks like is important to the plot. If the building is important enough to be featured in the story, then I'd go with at least a basic description like the ones I gave, but you don't need to get into huge detail unless the story warrants it.  

AnonyMouse Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); Cogito said: ↑ Only describe what is necessary for the purposes of the story. Let the reader's imagination fill in the majority of the details. Click to expand...

Scarecrow28 New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); Some writers add in description of buidligns and other things just to enhance the image the readers have, while some prefer to allow the readers to use their imagination. If the buildings features are somehow pertenant to the story, then add them. Otherwise, limit the descriptions.  

TwinPanther13 New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); I would say describe in slight detail. In thsi one instance I would say be vague. Give enough for the reader's mind to create its own image. Other then that you do niot need to describe it. Let the reader get involved with the story by filling in some blanks  

Dcoin New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); If you feel the need to add some sort of description but are uncomfortable with the entire scene, you may want to consider adding detail to just one room of the structure. For example, if you want to convey a feeling of a derelict building, just describe the lobby or the foyer. The reader will automatically generalize that feeling to the entire structure and it will save you from all the tech verbiage.  

BellLily New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); If it is important to the story (which I'm assuming it is because you're asking) then a brief description would be necessary at least. For people like me who doesn't see too many police stations (I just don't notice them and have never been in one) it'd be pretty good to give an overview. But we don't need to know that the bush to the left is 3.96 centimeters wider then the bush on the right. We really don't need another Tolkien out there. He did wonderfully well the first time. As for describing your station. I'd probably mention its very tidy looking. A tan color with detailed architecture (like the rounded windows) and the cars look like they're parked out back then in the garages (though they usually are huh? I think I'm thinking of fire fighter stations). Maybe mention its somewhat small looking as well. Just enough to let people work off of to create they're own image.  

Nolberto_Engelbert New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); If there's no purpose to the description of the police-station, leave it out. A story can work with elaborate portrayals of place and architecture, or with little mention at all. However, pointless detail is nothing but filler and is irksome for the reader.  

ParanormalWriter New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); Generally, if its something like a police station you're trying to describe, I'd say only a small amount of description is necessary. For example, you might mention if a building is red brick or has some unusual features. Over all though, people already have a mental image of what skyscrapers, firehouses, etc. look like and a lot of detail may just bore them.  

architectus Banned

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); If there are going to be scenes there then yes. It only takes a sentence or two if done well. And then later on in another scene you can bring out a different detail about the building, and so on. It always helps to see how good novelist have done it.  

Lemex That's Lord Lemex to you. Contributor

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); I would say no, but I am in the 'little detail big effect' camp, I write only a few details down and my reader paints the picture in his or her head.  

Kylie New Member

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); If things are going to happen there, describe it. If only a brief description is necessary, just give it a brief one. Like everyone else has said, describe only what's necessary to your story.  

mammamaia nit-picker-in-chief Contributor

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); 1) Do you feel it's better to sometimes bypass complex descriptions in favour of letting the reader create their own image (especially when it's a common object). Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_dd3e2ddbd0b92d8cfa58eb3b47c4d61f'); }); I was going to go with tan, but Maia's rose-hued sounds much better. She passed by a black & white parked in front of the box-shaped precinct. With arm outstretched, her fingers brushed the rose-hued stones, as she turned into the doorway. She strode through its arched doorway. As she opened the door, it stuck for a moment. She signed. When are they going to get that fixed, she wondered. ​ When ever possible, I like to describe boring things with action, rather than strait description.  

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What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

• Testimonials

How to Write a Story: A Guide for Creative Writers

• by Andrea Feccomandi
• August 27, 2024

There’s nothing quite like the joy of bringing a story to life, watching your characters grow and your world take shape. Storytelling isn’t just about writing; it’s about connecting with others through your words .

But to do that, you need to know the basic elements—like characters, plot, and setting. Think of these as the building blocks of your story. Without them, your story can’t stand strong.

This guide on how to write a story will take you through each step, making the process manageable and even enjoyable, whether you’re just starting out or looking to improve.

Story Meaning in Creative Writing

Let’s start with the definition of a story in creative writing.

STORY DEFINITION IN CREATIVE WRITING What is a Story? A story is a structured narrative that goes beyond a mere sequence of events. In creative writing, a story is an intentionally crafted experience designed to guide the reader through a progression of events and situations. It involves the creation of a fictional world, the introduction of characters, and the development of scenarios that lead to meaningful change or development in those characters.

How to Write a Story: Key Components of a Story

To understand how to write a story, you first need to grasp its key components: characters, setting, plot, conflict, and theme.

Characters are the heart of your story. They are the people, creatures, or beings that the reader follows. Think of them as the players in a game. Without characters, there’s no one to move through the story, no one to experience the events you’ve created.

Each character should have a purpose , desires , and challenges . For example, in a mystery story , your main character might be a detective determined to solve a crime. Their actions and choices drive the plot forward .

The setting is the world where your story takes place. It’s the backdrop against which your characters act. This could be a bustling city, a quiet village, or even a distant planet.

The setting influences the mood of your story and can even affect the actions of your characters . For instance, a story set in a haunted house might feel eerie and suspenseful, while a story set on a sunny beach might feel light and carefree.

The plot is the sequence of events that make up your story. It’s what happens to your characters as they move through the setting. A strong plot has a clear beginning, middle, and end. It might start with a problem or goal, build up as the characters face challenges, and end with a resolution.

Imagine a plot as a roadmap. It shows the direction your story will take , guiding the characters from the start to the finish line.

Conflict is what gives your story tension and drama . It’s the struggle between opposing forces that keeps the reader engaged. Conflict can be external, like a character fighting against another character or a natural disaster, or internal, like a character struggling with their own fears or doubts.

In a romance story , the conflict might be the obstacles that keep two characters apart. In a thriller, it could be the protagonist’s battle against a dangerous enemy.

Finally, the theme is the underlying message or lesson of your story . It’s what you want the reader to take away after they’ve finished reading.

The theme is often subtle, woven into the characters’ actions and the plot. For example, in a story about friendship, the theme might be the importance of loyalty and trust.

To survive, you must tell stories. Umberto Eco , The Island of the Day Before

Types of Stories

Stories come in many shapes and sizes. Understanding the type of story you want to write can help shape your approach. Different genres and formats offer different challenges and opportunities.

Genres like romance, science fiction, fantasy , and horror each have their own conventions and expectations . For example, a romance story usually focuses on relationships and emotions, while a science fiction story might explore futuristic technology or alien worlds. Knowing your genre helps you meet readers’ expectations while allowing you to play with the boundaries of that genre.

The format of your story also matters. A short story is brief, often focusing on a single event or moment in a character’s life. It requires concise writing and a tight plot. A novel , on the other hand, gives you more space to develop characters, explore subplots, and build a complex world. A novella falls somewhere in between, offering more depth than a short story but requiring more focus than a novel.

Choosing the right genre and format is like choosing the right tool for a job. It helps you focus your ideas and guides your storytelling . Whether you’re writing a quick, impactful short story or a sprawling epic novel, understanding these basics will set you on the right path.

How to Write a Story: Developing an Idea

The first step in learning how to write a story is developing a solid idea . This process involves finding inspiration and then refining that inspiration into something you can work with.

Finding Inspiration

Inspiration for a story can come from anywhere. It might spark from a conversation you overhear, a place you visit, or even a memory.

To find inspiration, start by observing the world around you . Pay attention to the small details—the way the light hits a building, the expressions people wear on their faces, or the rhythm of a crowded street. These observations can serve as the seeds for your story.

Reading widely also fuels inspiration. Explore different genres, styles, and authors. Notice how they craft their stories, how they build characters, and how they create tension. As you read, ask yourself what you would do differently. This can help you generate new ideas and find your unique voice.

Brainstorming is another effective way to develop story ideas. Sit down with a notebook and write down anything that comes to mind, no matter how vague or disconnected. You might start with a single word, a character, or a situation. Don’t worry about making sense at this stage. The goal is to let your imagination run free and gather raw material.

Refining Your Idea

Once you have a list of potential ideas, it’s time to refine them. Broad ideas often need narrowing down to become workable. Start by asking yourself some key questions : What is the main conflict in this idea? Who are the characters involved? Where and when does the story take place? These questions help you focus your idea and give it structure.

Originality is crucial in refining your idea. While it’s fine to take inspiration from existing stories, your version should bring something new to the table. Avoid clichés and overused tropes. Instead, think about how you can twist the familiar into something fresh . For example, if your idea involves a classic hero’s journey , consider how you might change the setting or alter the character’s motivation to make the story uniquely yours.

Adding personal touches also strengthens your story idea. Draw from your experiences, emotions, and perspectives. These elements give your story authenticity and depth. For instance, if you’re writing a story about overcoming fear, reflect on a time when you faced something scary. This personal connection will resonate with readers.

For example, let’s say you start with a basic concept: a person who wants to escape their small town . To refine this into a workable story, you might decide that the protagonist is a young woman who dreams of becoming an artist. The conflict arises because her family expects her to take over the family business. The setting could be a rural town that feels isolated and stifling. This simple idea now has direction, characters, and a central conflict, making it a strong foundation for your story.

How to Write a Story: Creating Compelling Characters

In learning how to write a story, creating compelling characters is one of the most crucial steps. Characters are the driving force behind your story . Readers connect with them , root for them, and follow them on their journey. To make your characters stand out, they need to be relatable, complex, and dynamic.

Character Development

Character development begins with understanding who your character is at their core . Think of your character as a real person. They should have goals, motivations, and flaws. Goals drive your character forward , giving them something to strive for. For example, a character might want to win a race, solve a mystery, or find love. These goals give your story direction.

Motivations explain why your character wants to achieve their goals . They add depth and make your character’s actions believable. If your character wants to win a race, their motivation might be to prove their worth, escape a difficult past, or fulfill a promise. Understanding these motivations helps you write actions and decisions that feel true to the character .

Flaws make your character human . No one is perfect, and your characters shouldn’t be either. Flaws could be anything from stubbornness to insecurity to a quick temper. These flaws create tension and conflict in your story, making it more engaging. For instance, a character who is too stubborn might refuse help when they need it, leading to further challenges.

Character Arcs

A character arc describes how a character changes throughout your story . A well-written arc adds depth and makes your story more satisfying. There are different types of character arcs, and the one you choose depends on your story.

A positive arc shows a character growing or improving . They start with a flaw or a false belief, but through the events of the story, they learn, change, and become better. For example, a character who begins as selfish might learn the value of helping others.

A negative arc shows a character’s downfall . Instead of growing, the character makes poor choices or refuses to change, leading to their decline. This arc can be powerful in tragedies or dark stories.

A flat arc involves a character who doesn’t change much but influences the world around them . This type of character often has strong beliefs or principles and helps others grow. Think of a mentor figure who stays consistent while guiding the protagonist.

Dialogue and Voice

Dialogue is a key tool for revealing character . It’s not just about what your characters say, but how they say it . To write authentic dialogue , consider each character’s background, personality, and current emotional state. A well-educated character might speak formally, while a teenager might use slang or short sentences.

Differentiating your characters through their speech patterns is crucial. It helps readers instantly recognize who is speaking, even without dialogue tags. For example, one character might be sarcastic, always making jokes, while another might be straightforward and serious. These differences make your characters more distinct and memorable.

Voice is another important aspect of a character. It refers to the unique way a character views and describes the world. A character’s voice should match their personality and background. For instance, a cynical character might describe things with a negative twist, while an optimistic character sees the bright side. This consistency in voice strengthens your character and makes them feel real.

How to Write a Story: Crafting the Plot

Learning how to write a story involves mastering the art of plot crafting. The plot is the backbone of your story. It guides your characters from beginning to end and keeps your readers engaged. To create a strong plot, you need to understand plot structure, pacing, tension, and the use of subplots.

Plot Structure

Plot structure is the framework that shapes your story . It provides a roadmap for your characters’ journey. Two common plot structures are the three-act structure and the Hero’s Journey.

In the three-act structure , the story is divided into three parts: setup, conflict, and resolution. The setup introduces the characters, the world, and the main problem. The conflict is the core of the story where challenges build, leading to the climax. The climax is the peak of the story, where everything comes to a head. After the climax, the resolution ties up loose ends and concludes the story.

The Hero’s Journey is another popular structure. It follows a character (the Hero ) who starts in their ordinary world but is soon called to an adventure. Along the way, they face trials, make allies, and confront their greatest challenge. After overcoming this challenge, the hero returns home, transformed by their experiences .

Both structures provide clear steps to follow, making it easier to organize your story. Whether you use the three-act structure or the Hero’s Journey, the goal is to create a plot that feels complete and satisfying.

Pacing and Tension

Pacing is how you control the speed of your story . It’s important to maintain a balance between fast-paced action and slower, more reflective moments. If your story moves too quickly, readers might miss important details. If it moves too slowly, they might lose interest.

To maintain good pacing, vary the length of your scenes . Short, quick scenes can build excitement and move the story forward. Longer scenes can slow things down and give readers a chance to catch their breath. Also, consider where you place important events. Spacing out major plot points keeps readers engaged and eager to see what happens next.

Tension is what keeps readers on the edge of their seats . It’s the sense that something important is at stake and that the outcome is uncertain. To build tension, gradually increase the obstacles your characters face. Start with smaller challenges, then escalate to bigger, more threatening situations. For example, in a mystery story, the tension might rise as the detective uncovers clues, leading to a final confrontation with the villain.

Subplots are secondary stories that run alongside your main plot. They add depth and complexity to your narrative, making it richer and more engaging. Subplots can explore side characters, develop themes, or provide a different perspective on the main story.

When creating subplots, ensure they complement the main plot . They should not distract from the primary narrative but instead enhance it. For example, if your main plot is about a hero saving the world, a subplot might explore the hero’s relationship with a close friend, adding emotional depth.

Weaving subplots into your story requires balance . Introduce them naturally, and make sure they connect to the main plot at key points. This connection helps to maintain the story’s focus and ensures that all elements of the plot work together.

How to Write a Story: Setting the Scene

When learning how to write a story, setting plays a crucial role. A well-crafted setting does more than provide a backdrop; it immerses the reader in your world and shapes the entire narrative. Let’s explore how to build a compelling setting and use it to enhance your story.

World-Building

World-building is the process of creating a believable and immersive setting for your story. Whether your story takes place in a real location or a fictional one, the setting must feel real to the reader .

Start by developing the physical landscape . Think about the environment—are there mountains, forests, cities, or oceans? What’s the climate like? How does the weather affect the characters’ daily lives?

Next, consider the cultural landscape . What are the customs, traditions, and values of the people who live in this world? How do these influence the characters and their actions? For example, in a society where honor is highly valued, a character might go to great lengths to protect their reputation.

Finally, think about the emotional landscape . How does the setting make the characters feel? A bustling city might create a sense of excitement or stress, while a quiet village could evoke feelings of peace or isolation. These emotional cues help the reader connect with the setting on a deeper level.

Using Setting to Enhance the Story

The setting is not just a backdrop; it influences the mood, theme, and character actions . Use the setting to create a specific atmosphere. For example, a story set in a dark, rainy city might feel tense and mysterious, while a story set in a bright, sunny field might feel warm and hopeful.

Setting can also reinforce the theme of your story. In The Great Gatsby , for example, F. Scott Fitzgerald uses the opulent settings of West Egg and East Egg to highlight the theme of wealth and its corrupting influence.

By carefully crafting your setting and using it to enhance the story, you can create a world that feels alive and integral to the narrative . As you continue to learn how to write a story, remember that a strong setting can be as important as the characters and plot.

How to Write a Story: Writing the First Draft

When learning how to write a story, the first draft is a crucial step. It’s where your ideas take shape on the page. This stage can feel daunting, but with the right approach, you can overcome the fear of the blank page and start writing with confidence.

Getting Started

Starting your first draft can be intimidating. The blank page often feels like a huge obstacle. To overcome this fear, remind yourself that the first draft doesn’t need to be perfect . It’s about getting your ideas down, not about crafting flawless prose. Think of it as building the foundation of a house—you’re just putting up the framework. The details can come later.

To start strong, consider beginning with a scene or moment that excites you . Don’t worry about writing in order. If there’s a particular scene that’s clear in your mind, write that first. This helps you build momentum. Once you’re in the flow, it becomes easier to tackle other parts of the story.

Writing Techniques

Several writing techniques can help you move through your first draft. Freewriting is a useful method. Set a timer for 10-15 minutes and write without stopping. Don’t edit or second-guess yourself; just let the words flow. This technique helps you bypass your inner critic and get your ideas on paper.

Word sprints are another effective strategy. Set a timer for a short period, like 20 minutes, and challenge yourself to write as much as possible. The pressure of the timer can push you to write faster and worry less about making it perfect.

Setting daily goals can also keep you on track. Decide on a specific word count to hit each day, whether it’s 300 words or 1,000. Consistent progress, even in small amounts, adds up over time.

Remember, the goal of the first draft is to get the story down. Don’t get caught up in editing or fixing every sentence. There will be time to refine your work later. For now, focus on moving the story forward.

Dealing with Writer’s Block

Writer’s block is a common challenge during the first draft. When you feel stuck, it’s important to take a step back. Breaks are crucial . Step away from your writing, take a walk, or do something else you enjoy. This gives your mind a chance to reset.

Changing your scenery can also help. If you’ve been writing at your desk, try moving to a different room, a coffee shop, or even outside. A new environment can spark fresh ideas and break through mental barriers.

Revisiting your inspiration can reignite your creativity. Look back at what inspired you to write this story in the first place. Read a favorite book, watch a movie that relates to your theme, or browse through your notes. These activities can remind you of your passion for the story and help you push past the block.

How to Write a Story: Revising and Editing

Once you’ve completed your first draft, the real work begins. Learning how to write a story doesn’t stop at getting your ideas down; it involves shaping and refining those ideas into a polished narrative. Revising and editing are essential steps in this process.

Importance of Revisions

The first draft is just the start. Think of it as the rough clay that you’ll now mold into its final form. Revisions allow you to step back and see the bigger picture . This is your chance to rework the plot, deepen character development, and improve pacing. For example, you might find that a subplot needs more attention or that a character’s motivations aren’t clear. Revising helps you address these issues and strengthen your story.

During revision, focus on the structure of your story . Does the plot flow logically? Are the character arcs satisfying? Is the pacing consistent? These questions guide your revisions and help you see where changes are needed. For instance, if the middle of your story drags, you might need to cut unnecessary scenes or add more conflict.

Self-Editing Techniques

After revising, it’s time to edit your work. Self-editing is a crucial skill in learning how to write a story. Start by checking for consistency . Ensure that characters act in ways that align with their personalities and that the plot doesn’t have gaps or contradictions. For example, if a character is afraid of heights, they shouldn’t suddenly climb a mountain without explanation.

Next, tighten your prose . Look for areas where you can be more concise. Remove unnecessary words, redundant phrases, and anything that doesn’t serve the story. This makes your writing clearer and more engaging. Also, watch out for clichés . These overused expressions can weaken your story. Replace them with original descriptions that better capture your unique voice.

Seeking Feedback

External feedback is vital in the revision process. After you’ve done your self-edits, consider sharing your story with beta readers or a writing group. These readers can spot issues you might have missed, such as unclear plot points or characters that need more development.

When receiving feedback, it’s important to stay open and objective . Criticism can be tough, but it’s meant to help you improve. Focus on the suggestions that resonate with you and use them to strengthen your story. For example, if multiple readers mention that a certain scene feels out of place, it’s worth re-examining that part of your story.

Final Steps: Polishing Your Story

You’ve revised and edited your story, and now it’s time to polish it. This final stage is crucial in learning how to write a story that’s ready to share with the world. Polishing involves careful proofreading, proper formatting, and preparing your story for submission or publication.

Proofreading

Proofreading is the last line of defense before your story goes out into the world . It’s about catching those small errors in grammar, spelling, and punctuation that can distract readers and undermine your professionalism. Take the time to read through your manuscript slowly, line by line. Look for common mistakes like misplaced commas, incorrect verb tenses, or misspelled words.

A clean, error-free manuscript shows that you care about your work and respect your readers . It also makes a better impression on agents, publishers, or anyone else who might read your story. Consider reading your story out loud . Hearing the words can help you catch mistakes that your eyes might skip over.

Formatting and Presentation

Once your manuscript is error-free, focus on formatting. Proper formatting makes your manuscript look professional and easy to read. If you’re submitting to a publisher or agent, follow their specific guidelines. Common formatting standards include using a readable font like Times New Roman, double-spacing the text, and including page numbers.

Different formats may require different presentation styles . For instance, a manuscript intended for print might need different margins or paper size than one intended for digital platforms. If you’re self-publishing, make sure your manuscript is formatted correctly for the platform you’re using, whether it’s an eBook or a print-on-demand service.

Presentation matters because it’s the first thing a reader or publisher sees. A well-formatted manuscript shows that you’ve taken the time to present your story in the best possible way.

Submitting or Publishing Your Story

After polishing your story, it’s time to decide how you want to share it with the world. There are several avenues for publishing, each with its own process.

Traditional publishing involves submitting your manuscript to agents or publishers . If you choose this route, you’ll need to write a query letter. This letter is your pitch, a brief introduction to your story, and why it would be a good fit for the publisher. Keep it concise and professional. Highlight the main points of your story, such as the genre, the central conflict, and what makes it unique.

Self-publishing is another option. It allows you to maintain control over your work and how it’s presented. Platforms like Amazon Kindle Direct Publishing (KDP) or IngramSpark make it easy to publish your book as an eBook or in print. However, self-publishing requires more responsibility , as you’ll handle everything from editing to marketing.

Online platforms , like blogs or writing communities, offer a way to share your story with a wide audience. These platforms often have less formal submission processes, making them a good option if you’re looking to get feedback or build an audience quickly.

How Bibisco Novel Writing Software Can Help You Write Your Story

bibisco novel writing software is a powerful tool that simplifies the writing process. It offers features designed for creative writing , helping you organize your ideas and stay focused. With bibisco, you can create and develop your characters, structure your plot, and manage your scenes.

bibisco provides a clear overview of your story , making it easier to see how all the pieces fit together. You can track your progress, set writing goals, and keep everything in one place.

Whether you’re just starting or refining your draft, bibisco supports every step of your writing journey .

Conclusion: How to Write a Story

In this guide, we’ve explored the key steps a writer should follow to learn how to write a story. Each step brings you closer to creating a story that resonates.

Writing is a journey, and every story you create is a step forward. Embrace the creative process, even when it feels challenging.

Remember, storytelling has the power to connect people and share experiences across time and place. Your story, no matter how small it seems, has the potential to touch someone’s life. Start writing and let your voice be heard.

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