how to describe a church in creative writing

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10 Words to Describe a Beautiful Church

By Isobel Coughlan

Does your story involve major characters visiting a church? Do you want this church to be a stunning piece of architecture? In this post, we’ve included 10 words to describe a beautiful church you can use in your book.

Somewhere  peaceful, calm, and without stress.

“The  serene  church was an oasis of calm for all who entered.”

“As he looked around, he was stunned by the lack of fuss in the  serene  church.”

How it Adds Description

The word “serene” provides a sense of calm to any literary setting. This  adjective  helps to convey the atmosphere of your church, allowing the reader to understand your novel’s world better. It can also reflect the character’s viewpoint, as different personalities find different places relaxing.

2. Heavenly

Someone  or somewhere connected to the religious idea of heaven.

“There was nowhere more  heavenly  than the grand church on the hill.”

“While he prayed inside the  heavenly  church, the group reconvened outside to have a matter of fact talk.”

If your literary church is in your novel to add a religious element to the plot, the adjective “heavenly” provides obvious connotations to the Christian religion. However, it also implies that the characters feel the church is a positive place, as “heavenly” is used to describe positive or holy places.

3. Magnificent

Something or somewhere that’s extremely  impressive  or good.

“The  magnificent  church towered above him, yet he did not feel scared.”

“The inside of the church was simply  magnificent , she’d never seen such beauty in her life before.”

The word “magnificent” describes places or people who are impressive, beautiful, or good. If you want to emphasize how attractive or decorated your church is, “magnificent” is a powerful adjective to use as all readers will understand its meaning. The term also positions your church as better than others, as it’s rare for all buildings to be “magnificent”.

4. Captivating

A place that attracts or  fascinates  people.

“She couldn’t stroll past the  captivating  church without stealing a few glances, to ignore it was impossible.”

“The  captivating  church was a prized possession for the townsfolk, they’d never allow it to be demolished.”

If your church is so beautiful that it distracts your characters, “captivating” is a fitting world to use. This adjective describes a magnetism that attracts your characters to the church’s beauty, emphasizing its architecture and decor. It can also foreshadow a future church-related plot point if one character is more “captivated” by the church than others.

Somewhere that is  wonderful , high-quality, or affects visitors deeply.

“She chose to rest in the  sublime  church, it was the only place she truly felt at ease.”

“The  sublime  church was a must-visit stop on all of the tourism brochures, and he could now see why.”

The word “sublime” conveys a church’s beauty through the effect it has on its visitors. If your church is “sublime”, it’s an attractive and positive place where people feel comfortable. This is a great word to use if the church is a focal point in your novel, “sublime” will draw the reader’s attention to how it makes your narrator feel.

6. Pristine

Somewhere that’s extremely  new , clean, or in a high-quality condition.

“He gazed around the  pristine  church, not a single thing was out of place.”

“There was never a place more orderly than the  pristine  church.”

The word “pristine” signified cleanliness and order, allowing you to give your reader deeper insights into your setting. “Pristine” can also imply that your character is impressed by the beautiful church, showing the reader they appreciate organized spaces.

7. Flawless

Something or somewhere with no problems or  blemishes .

“As they walked into the  flawless  church, they realized it was a place of true beauty.”

“The  flawless  church was the best in the region, no one could deny that.”

If you want to exaggerate or convey your church’s beauty, the term “flawless” is appropriate to use. This word implies the church is without imperfections, and therefore perfect. “Flawless” can also show your narrator’s awe at the beauty, and thus your readers will understand their motivations better.

8. Dazzling

A place that’s  beautiful  or impressive.

“The  dazzling  church could be seen from miles away, and he couldn’t ignore its presence.”

“She wished to visit the  dazzling  church, if only just once.”

The word “dazzling” has connotations of conventional beauty, and using this adjective will convey your church’s attractive facade to your reader. “Dazzling” can also help to convey that the church is a positive place, as your characters might be impressed or in awe of the building’s beauty. You can also use this word to create a detailed setting, perfect for writers who enjoy providing in-depth scene descriptions.

A place that looks  expensive  or grand.

“It was an  opulent  church, there’s no doubt it has been redecorated recently.”

“She skipped through the  opulent  church, and as she traveled she admired the excess of decor and stained glass windows.”

The word “opulent” is linked with excessive decor and rich styles. Therefore, if your beautiful church is highly decorated, “opulent” will signify this to your reader. This adjective could also convey that a lot of time and money has gone into building the church, and this could foreshadow future plot points to your reader.

10. Alluring

Somewhere or  somebody  that’s very attractive.

“The  alluring  church continued to interest him, but he could not work out why.”

“It seemed like the  alluring  church had a life of its own, drawing civilians in with its statuesque beauty and strong morals.”

The word “alluring” describes beauty that attracts people to it. If your church is highly beautiful and attracts characters to it, “alluring” is an adjective that can emphasize this connection. It can also help to further the plot, hinting to the reader that characters have a secret obsession with the church and making the reader want to find out why.

SLAP HAPPY LARRY

Writing activity: describe a church.

Elisabeth Sonrel (1874 – 1953)

Below you’ll find examples of churches from literature followed by churches in art and illustration.

A CHURCH FROM CLASSIC HORROR

The church was a large and lonely one, and we loved to go there, especially upon bright nights. The path skirted a wood, cut through it once, and ran along the crest of the hill through two meadows, and round the churchyard wall, over which the old yews loomed in black masses of shadow. This path, which was partly paved, was called “the bier-balk,” for it had long been the way by which the corpses had been carried to burial. The churchyard was richly treed, and was shaded by great elms which stood just outside and stretched their majestic arms in benediction over the happy dead. A large, low porch let one into the building by a Norman doorway and a heavy oak door studded with iron. Inside, the arches rose into darkness, and between them the reticulated windows, which stood out white in the moonlight. In the chancel, the windows were of rich glass, which showed in faint light their noble colouring, and made the black oak of the choir pews hardly more solid than the shadows. But on each side of the altar lay a grey marble figure of a knight in full plate armour lying upon a low slab, with hands held up in everlasting prayer, and these figures, oddly enough, were always to be seen if there was any glimmer of light in the church. Their names were lost, but the peasants told of them that they had been fierce and wicked men, marauders by land and sea, who had been the scourge of their time, and had been guilty of deeds so foul that the house they had lived in—the big house, by the way, that had stood on the site of our cottage—had been stricken by lightning and the vengeance of Heaven. But for all that, the gold of their heirs had bought them a place in the church. Looking at the bad hard faces reproduced in the marble, this story was easily believed. Man-Size in Marble by E. Nesbit

A NEW YORK CITY CHURCH FROM A CONTEMPORARY NOVEL

The cathedral across the way is stony and grand, out of place in these cluttered, low-rise streets. In the night dark it’s somehow a shadow. Mother In The Dark , a 2022 novel by Kayla Maiuri

A 1930S CHURCH

They lodged her in a little cell-like room adjoining a small chapel dedicated to the Magdalen, a darksome and forbidding little shrine with vaulted ceiling and a window scarce a hand-breadth wide, stained, rather than illumined, by the red glow of a vigil lamp. “The Lady of the Bells”, Weird Magazine, 1939

ST JAMES IN LIVERPOOL

The Oratory of St James’s Cemetery in Liverpool has no windows along the whole length of its outer walls. Only a long rectangular skylight, its leaded panes half-mossed over, lets the winter sun reach down and touch the white marble statues staring blankly inside. A mortuary chapel, but long closed up, its coffered ceiling and tall, carved columns are mostly in shadow. Years ago, as the great homes of the city were pulled down stone by stone, the monuments of proud families (monuments of terracotta and marble and bronze) were hoisted here and locked away, and so the wealth of the city – wrenched from far-off lands and furnished from blood – was hidden, and so forgotten. And as the years went by, other things were hidden, too. Some (like the terraced slums of the poor and their washhouses) were razed, others (the orphanages and workhouses, the asylums and homes for the destitute) were emptied one by one, turned by sharp-suited businessmen into flats or bars or restaurants, where the names of the dead, engraved in plaques on newly pointed walls, were the climbing holds of a city once again dragging itself up out of its own grave. And so the churches and crypts were closed, and the docks shut down, and the shackles shipped and left on other shores, and the subterranean tunnels and the catacombs were filled in with stones, and the quarry was planted with oaks and with sycamores and with the bodies of the dead. And it was in this way that the ghosts of the city were parcelled off, ushered from the streets into derelict buildings, made to stand in exhibition cases, hurried into the pages of books and diaries, and folded away. For, after all, ghosts can only live in the darkness; and once the dark places are closed up, their cast-iron locks bolted fast, it is easy for those who do not live with them to pretend that ghosts do not exist at all. Past midnight, one mid-January, standing in the church gardens, I felt the wind blow up from the River Mersey, weighted with Atlantic salt. It blustered up to the city, battering the red bricks of the warehouses on the dock, rattling the barred doors of the pump-house and the locks of the customs house. I heard it rush south-east between the empty units along St James’s Street, clapping the tattered flags of the old sailors’ church, and spinning frantically in the bell-turret of St Vincent’s. It rushed up the steep junction of Parliament Street, past the new-builds, over the waiting cars at the traffic lights, and there scurried down the tree-tunnelled sandstone path into the cathedral cemetery, resting, finally, in a swirl of leaves and a ripple of the spring water by the catacombs, unseen by anyone except a carved angel weeping over a nineteenth-century grave, and the lone figure of a man – me – kneeling and drinking from the water flowing in runnels down the old cemetery wall. the opening to All Down Darkness Wide , a memoir by Seán Hewitt (2022)

AN 1800S CATHOLIC CHURCH

In the distance a cemetery of wooden crosses was scattered about the hillside, as if the Spanish had once spilled a bucket of Catholicism over the land. At the old mission church in the plaza, a white cross leaned left and the air sounded with the squawking of sparrows and wrens. Desiderya left the pink-hued morning and entered the church, blessing herself and the baby with holy water at the door. […] Deeper inside the chapel, several young women were on their hands and knees sweeping the floor with horsetail brushes. Dried rose petals were piled around them, and at the altar was a clay statue of La Virgen de Guadalupe, dressed in red silk. The young women were preparing her Feast Day, and the church smelled of incense and blue sage and the copal traded and carried from 1,400 miles south in Mexico City. Woman of Light, a 2022 novel by Kali Fajardo-Anstine

ST CHRISTOPHERS

I want to describe the church now, and Miss Isabel. An unpretentious ­nineteenth-­century building with large sandy stones on the façade, not unlike the cheap cladding you saw in the nastier houses—​though it couldn’t have been that—​and a satisfying, pointy steeple atop a plain, ­barn-­like interior. It was called St. Christopher’s. It looked just like the church we made with our fingers when we sang: Here is the church Here is the steeple Open the doors There’s all the people. The stained glass told the story of St. Christopher carrying the baby Jesus on his shoulders across a river. It was poorly done: the saint looked mutilated, ­one-­armed. The original windows had blown out during the war. Opposite St. Christopher’s stood a ­high-­rise estate of poor reputation, and this was where Tracey lived. (Mine was nicer, ­low-­rise, in the next street.) Built in the sixties, it replaced a row of Victorian houses lost in the same bombing that had damaged the church, but here ended the relationship between the two buildings. The church, unable to tempt residents across the road for God, had made a pragmatic decision to diversify into other areas: a toddlers’ playgroup, ESL, driver training. These were popular, and ­well established, but ­Saturday-­morning dance classes were a new addition and no one knew quite what to make of them. The class itself cost two pounds fifty, but a maternal rumor went round concerning the going rate for ballet shoes, one woman had heard three pounds, another seven, ­so‑­and‑­so swore the only place you could get them was Freed,   in Covent Garden, where they’d take ten quid off you as soon as look at you—​and then what about “tap” and what about “modern?” Could ballet shoes be worn for modern? What  was  modern? There was no one you could ask, no one who’d already done it, you were stuck. It was a rare mother whose curiosity extended to calling the number written on the ­homemade flyers ­stapled to the local trees. Many girls who might have made fine dancers never made it across that road, for fear of a ­homemade flyer. Swing Time , a 2017 novel by Zadie Smith

A NEW YORK CITY CHURCH (THE INSIDE) (LATE 20TH CENTURY)

“Infidel does not cover what I am,” I said. “Now, now,” Louis said. “No melodrama. God loves us in our sins. Be a good girl. Take a deep breath and move.’ He gave me a little shove and I flew up the stairs and into the chapel. The last light came through the stained-glass windows, but the rest of the chapel was dim. The altar was lit with candles. I was immediately overcome with that undeniable, elevating melancholy so many people feel in a religious setting. I found myself sitting in a pew, staring in panic at the row of books in front of me: the hymnal, the supplement to the hymnal, a book of canticles, the Book of Common Prayer, and a paperbound book with the seminary’s name stamped on it, which when opened revealed itself to be full of hand-transcribed music. “What am I supposed to do?” I said. “Just look at the nice pictures in the windows and then stand when I stand and kneel when I kneel.” “Kneel?” I said. “Do I have to kneel?” Laurie Colwin, “Evensong”, The New Yorker, April 17, 2023

A CHURCH IN REGIONAL AUSTRALIA CONNECTED TO RECENT MURDERS IN A CRIME NOVEL

MARTIN WALKS OUT BEFORE THE DAWN, THE AIR COOL AND THE SKY MUTED , finding his way through deserted streets to the epicentre of his story: St James. He stands before the church as the sun lifts from the horizon and sends shafts of golden light through the branches of the river red gums. He’s seeing it for the first time, but the building is familiar nevertheless: red brick and corrugated-iron roof, raised ever so slightly above the surrounding ground, half a dozen steps leading up to a utilitarian oblong of a building, its purpose suggested by the arch of its portico, the pitch of its roof and the length of its windows, and confirmed by the cross on its roof. A rudimentary belltower stands to one side: two concrete pillars, a bell and a rope.  ST JAMES: SERVICES FIRST AND THIRD SUNDAYS OF THE MONTH—11 AM , says the sign, black paint on white. The church stands alone, austere. There is no surrounding wall, no graveyard, no protective shrubs or trees. Martin walks the cracked concrete path to the steps. There is nothing to indicate what occurred here almost a year ago: no plaque, no homemade crosses, no withered flowers. Martin wonders why not: the most traumatic event in the town’s history and nothing to mark it. Nothing for the victims, nothing for the bereaved. Perhaps it’s too soon, the events still too raw; perhaps the town is wary of sightseers and souvenir hunters; perhaps it wants to erase the shooting from its collective memory and pretend it never happened. Scrublands by Chris Hammer (2018)

FURTHER READING

A history of the church through its buildings.

A History of the Church through its Buildings  (Oxford University Press, 2021) by Allan Doig takes the reader to meet people who lived through momentous religious changes in the very spaces where the story of the Church took shape. Buildings are about people, the people who conceived, designed, financed, and used them. Their stories become embedded in the very fabric itself, and as the fabric is changed through time in response to changing use, relationships, and beliefs, the architecture becomes the standing history of passing waves of humanity. This process takes on special significance in churches, where the arrangement of the space places members of the community in relationship with one another for the performance of the church’s rites and ceremonies. Moreover, architectural forms and building materials can be used to establish relationships with other buildings in other places and other times. Coordinated systems of signs, symbols, and images proclaim beliefs and doctrine, and in a wider sense carry extended narratives of the people and their faith. Looking at the history of the church through its buildings allows us to establish a tangible connection to the lives of the people involved in some of the key moments and movements that shaped that history, and perhaps even a degree of intimacy with them. Standing in the same place where the worshippers of the past preached and taught, or in a space they built as a memorial, touching the stone they placed, or marking their final resting-place, holding a keepsake they treasured or seeing a relic they venerated, probably comes as close to a shared experience with these people as it is possible to come. Perhaps for a fleeting moment at such times their faces may come more clearly into focus. INTERVIEW WITH AUTHOR AT NEW BOOKS NETWORK

The Suburban Church: Modernism and Community in Postwar America

After World War II, America’s religious denominations spent billions on church architecture as they spread into the suburbs. Gretchen Buggeln’s latest monograph,  The Suburban Church: Modernism and Community in Postwar America  (University of Minnesota, 2015), is richly illustrated history of mid-century churches in the Midwest that shows how architects and suburban congregations joined forces to create a new wave of modernist churches to reflect and shape developments in postwar religion–its ecumenism, optimism, and liturgical innovation, as well as its fears about staying relevant during a time of vast cultural, social, and demographic change. Gretchen Buggeln holds the Phyllis and Richard Duesenberg Chair in Christianity and the Arts at Valparaiso University in Indiana. interview at New Books Network

Header painting is by Elisabeth Sonrel (1874 – 1953)

CONTEMPORARY FICTION SET IN AUSTRALIA AND NEW ZEALAND (2023)

On paper, things look fine. Sam Dennon recently inherited significant wealth from his uncle. As a respected architect, Sam spends his days thinking about the family needs and rich lives of his clients. But privately? Even his enduring love of amateur astronomy is on the wane. Sam has built a sustainable-architecture display home for himself but hasn’t yet moved into it, preferring to sleep in his cocoon of a campervan. Although they never announced it publicly, Sam’s wife and business partner ended their marriage years ago due to lack of intimacy, leaving Sam with the sense he is irreparably broken.

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19,903 quotes, descriptions and writing prompts, 4,965 themes

Church - quotes and descriptions to inspire creative writing

• candlestick
• christmas cakes
• christmas hamper
• christmas vacation
• church choir
• church spire
• easter hymns
• easter sunday
• faith leaders
• good friday
• national wellness service
• spiritual awakening
• ugly sweater

The church of rock and pillar is nothing without the many colours of light.

The church was once my cocoon, yet now my time as a butterfly has come.

In the black church I found a light within.

The church invites the angel within all to spread confident wings as shelter for all mankind.

To raise one's voice in song within the church is of no purpose if the heart doesn't do the same.

Preach me church in your loving actions or not at all.

For the most part, the forest was my church, for I need to be able to see the heavens, feel the openness, experience the sunlight and let the birdsong be a salve to my mind. It was then my mind was free, then that I felt I was enough. I was one animal walking among many, all of us different yet connected. I guess it simply felt homely in a way that felt right, me quietly giving of my affections and nature giving back, nurturing a part that those stone walls left cold. As I became older, I softened in my feelings toward those steeple spires, toward those bells and windows of many hues. For just as a house needs love to be a home, those walls of rock needed love to be a church. The day I felt that love, the day it flowed as easily as a natural breeze and the light of the son came from the eyes around, it felt right too.

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DescribingWord.Com

A to Z Collection of Describing Words

Top 30 Adjectives for Church (Negative & Positive Words)

Churches have long been pivotal in human societies, evoking a myriad of feelings, memories, and descriptions. Adjectives play a crucial role in encapsulating the essence of these sacred places, both in their positive and negative aspects.

Table of Contents

Description of Church

A church is a place of worship, spiritual reflection, and community gathering, often rooted in Christian traditions.

Words to Describe Church

Here are the 30 most common words to describe Church:

• Traditional
• Conservative
• Evangelical
• Controversial
• Charismatic

Positive Words to Describe Church

Negative words to describe church.

• Restrictive

Adjectives for Church (Meanings and Example Sentences)

• Meaning: Regarded with reverence
• Sentence: The altar is a sacred part of the church.
• Meaning: Having importance in history
• Sentence: The church has historical significance in the town.
• Meaning: Free from disturbance
• Sentence: I find the chapel very peaceful .
• Meaning: Grand in appearance
• Sentence: The cathedral looks majestic on the hill.
• Meaning: Following long-established customs
• Sentence: The church follows traditional practices.
• Meaning: Showing deep respect
• Sentence: The ambiance inside is reverent .
• Meaning: Relating to the soul
• Sentence: The hymns had a spiritual resonance.
• Meaning: Impressive in size
• Sentence: The new basilica is quite grand .
• Meaning: Motivating or uplifting
• Sentence: The sermon was deeply inspiring .
• Meaning: Rich in history
• Sentence: The church has a storied past.

Other Words to Describe Church

Words to describe church service.

• Interactive
• Ritualistic
• Evangelistic

Words to Describe Church Bells

Words to describe church camp.

• Adventurous
• Transformative
• Nature-bound
• Faith-based
• Recreational

Words to Describe Church Architecture

• Renaissance
• Contemporary

Words to Describe Church Buildings

• Stained-glass
• Stone-built

Words to Describe the Catholic Church

• Hierarchical
• Sacramental

How to Describe Church in Writing?

Describing a church in writing involves more than merely portraying its physical attributes; it’s about capturing the depth of emotions, rituals, and histories contained within its walls.

A church is not just a structure; it’s a tapestry of memories, prayers, and stories passed down through generations.

To aptly portray a church, writers often focus on the sensory experience – the echoing footsteps, the soft flicker of candles, the fragrance of incense, and the harmonious chorus of hymns.

These elements breathe life into the text and transport readers to that very sanctuary of peace and reflection.

Furthermore, the history and cultural significance of a church can’t be overlooked. Writers might delve into its architectural marvels, the artistic treasures it houses, or the significant events it has witnessed.

In essence, to describe a church is to chronicle a living testament of faith, community, and heritage.

Explore Related Words:

Adjectives for Christianity

Adjectives for Bible

Adjectives for Spirituality

Adjectives for Angel

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Westar Blog

Christian religious education, blog categories, religion in creative writing | understanding religion series.

My favorite way of understanding religion is, without question, the playfully serious and seriously playful exploration of religion in creative writing. Because certain symbols are universally resonant across time and space, they find their way into both religious practice and creative expressions like poetry, fiction, creative nonfiction, television scripts, stage plays, and sermons. This doesn’t mean such works have to be religious—you can probably think of a few that are quite sacrilegious, in fact—but they do open a conversation. Opening up new conversations and perspectives, and awakening empathy and curiosity, proves to be one of this approach’s most valuable contributions to understanding religion.

In this entry for the Understanding Religion series , we’ll look at…

how religion in creative writing works,

why creative writing is important for understanding religion, and

what the limits or weak points of this form of knowledge are.

I’ll also share examples to help you see this approach in action. If you have a favorite example of religion in creative writing, I hope you’ll share it with me and other readers in the comments section (below).This is the general format for the series, which covers different ways of talking about and thinking about religion. Learn more here.

‍ The diverse expressions of religion in creative writing make for a wonderfully rich resource. This goes beyond asking whether a character in the story is Catholic, Jewish, Muslim, a “none,” a Zen Buddhist, or a member of a fringe sect like the Hale-Bopps. This is what we might call content-level involvement of religion in a text. There’s another level, which we might call the meta-level. The latter occurs when a poet or writer speaks in a sacred register like a prophet, or use other techniques we normally associate with either sacred writing or sacred speech, yet the content itself is not religious. Of course, both levels can be combined, as one would expect in a sermon, but they can operate separately. They often do.

We see, then, that religion manifests in creative writing in more than one form:

• Content-Level (Characters, Places, Actions): observed or demonstrated beliefs and rituals of characters and/or the narrator (still technically a character, not the author)
• Meta-Level (Voice/Theme/Plot): prophesy, parable, apocalypse, meditation, prayer, miracle

I’d like to look at one poem here in depth to give an example of how creative writing can open up a multi-layered conversation about religion. Although I’m looking at a poem because the brevity of the form makes it easier to discuss in a single blog post, you can expand this strategy to talk about other genres, everything from a creative nonfiction piece like Annie Dillard’s Pilgrim at Tinker’s Creek to television programs like Game of Thrones and The Walking Dead . Let’s read this 1921 poem by Marianne Moore :

He Made This Screen

not of silver nor of coral,

but of weatherbeaten laurel.

Here, he introduced a sea

uniform like tapestry;

here, a fig-tree; there, a face;

there, a dragon circling space—

designating here, a bower;

there, a pointed passion-flower.

Is religion in this poem, in any sense? Consider the images employed in this tight space. The laurel was traditionally used in Greco-Roman cultures for rites of purification. Famously, it served as the crown of the military victor and the poet, too. Even though the laurel in this poem is “weatherbeaten,” it carried an illustrious heritage that the poem coyly underplays. The reason for this becomes more obvious as the poem continues.

Moore then invokes the fig tree, the tree that covered the nakedness of Adam and Eve in Genesis 3 . One could imagine the “face” that follows belonging to one of the naughty humans peeking out of underbrush at their god when he calls. The “dragon circling space” could be a compressed image of Tiamat in the Enuma Elish , which tells the story of how Marduk vanquished the mother of creation and created humans from the blood of her servant, or it could be a derivative version of the story from a later culture. A bower is a secluded, perhaps wooded, place that evokes the Garden of Eden, and the pointed passion flower is a lush image of fertility and desire.

So yes, you could say this poem draws upon religion to say something, specifically something about Creation. But the poem might also be about the God or Goddess of creation, rather than creation itself. Who “made this screen,” after all? Is it enough to infer from the “He” and the rest of the content, that this is God? It certainly falls within the realm of possible interpretations. It’s also possible to read the subject of the poem as John Milton, author of Paradise Lost , if one imagines the “screen” to be a metaphor for Milton’s narrative poem of the Fall of Man.

This is all without any reference to the life and experiences of the poet herself, based simply on what the words themselves evoke out of shared symbols in Western culture. In delving into the life of Marianne Moore (1887–1972), a still richer layer of meaning comes into play. Like her twentieth-century contemporaries Ezra Pound and William Carlos Williams, Moore developed an abiding interest in Eastern arts and culture. This poem is an ekphrasis , a narrative description of a work of art, in this case “Nine Dragons” by Chen Rong, which was painted in 1244 AD and now held by the Boston Museum of Fine Arts. Have a quick look at the painting and come back.

It is immediately obvious that Moore did not simply narrate the Chinese image what she saw but combined it with her existing Western narratives of creation. Williams once described her style as finding the vastness in the particular, “ so that in looking at some apparently small object, one feels the swirl of great events .”

This begins to show the wonderful flexibility of creative writing to open up a conversation about religion. Imagine reading this at the start of a class on the history of the Bible. It certainly opens up the question of why the original writers of Genesis and the Enuma Elish wrote the stories the way they did, how the stories might have changed over time, and why people today are still retelling them—this is neither simplistic nor literal.

Not every poet or writer who chooses to use a religiously charged image, such as a fig tree, must by definition be writing a religious piece, but the writer does have to reckon with the image once invoked. I think this is a commonly misunderstood aspect to writing. We don’t get to make the words say whatever we want; they carry their history with them. Religious innuendos will rear up in the minds of readers, at times even without their conscious intent, and readers will naturally look for resolution. Verlyn Klinkenborg in Several Short Sentences about Writing puts it like this:

The link between you and the reader is the sentence you’re making.

There’s no sign of your intention apart from the sentences themselves.

And every sentence has its own motives, its own commitments,

Quite apart from yours.

It adheres to a set of rules—grammar, syntax, the history and customs of language, a world of echoes and allusions and social cues—that pay no heed to your intentions,

If you don’t heed those rules.

It’s hard to pay attention to what your words are actually saying.

As opposed to what you mean to say or what you think they’re saying. (4)

What this suggests is that creative writing at its best encourages empathy and open-mindedness through two things: (1) the free association of images and (2) the frustration of making sentences say what you want them to say while reckoning with their history and their traditional uses.(Why do I feel like I’m talking about church services all of a sudden?)When we confront religion in creative writing, this flexible medium gives us a chance to pretend we’re someone else for a while. Whether I am the writer or the reader, I temporarily suspend disbelief and imagine the world differently—which is exactly what Jesus did when he told parables, by the way.

Most writers are not fully conscious of their religious and spiritual leanings and longings. These are often unexpressed impulses that filter through their writing until something “feels” right. Unfortunately writers don’t always notice that what “feels” right might be familiar specifically because it relies on a stereotype or popular myth that has no rootedness in the actual practice or history of a religion.

Yet religious studies scholars and theologians don’t necessarily have creative writing skills, and even if they did, they might find that their most profound thoughts don’t translate easily into story or poetry.

One of the limits of creative writing as a way to understand religion, then, is the problem of finding historically sensitive writing or at least writing that depicts the longings of people of a particular faith in a way that opens up understanding. Since the goal or end of creative writing isn’t “to understand religion” but (usually) “to entertain or provoke,” the writer is under no inherent obligation to do otherwise.

‍ Like testimony , creative writing is subjective and exploratory, but it does not necessarily involve a call to action. The writer isn’t necessarily saying, “This really happened,” but “Something about this rings true.” It’s that “rings true” bit that speaks to people and opens them up to empathy, but also the bit that can fall into the trap of bias and stereotyping. We just have to walk that line.

I’ll leave you with a few lines of another poem that invokes religion, one of my old favorites, Adrienne Rich, “Diving into the Wreck” :

I came to explore the wreck.

The words are purposes.

The words are maps.

I came to see the damage that was done

and the treasures that prevail.

I stroke the beam of my lamp

slowly along the flank

of something more permanent

than fish or weed

the thing I came for:

the wreck and not the story of the wreck

the thing itself and not the myth

the drowned face always staring

toward the sun

the evidence of damage

worn by salt and sway into this threadbare beauty

the ribs of the disaster

curving their assertion

among the tentative haunters.

This article is part of the Understanding Religion series, which explores the many different methods and approaches we can use to understand and appreciate religion. Find more articles here and share your favorite book, poem, or other example of religion in creative writing in the comments below.

Cassandra Farrin joined Westar in 2010. A US-UK Fulbright Scholar, she has an M.A. in Religious Studies from Lancaster University (England) and a B.A. in Religious Studies from Willamette University. She is passionate about books and projects that in some way address the intersection of ethics and early Christian history.

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20+ Best Words to Describe Church, Adjectives for Church

Welcome to our blog post exploring the myriad of words to describe a church! In its simplest form, a church is a place of worship where people gather to practice their faith and connect with a higher power. Now, let’s delve into the rich vocabulary that beautifully captures the essence of this sacred space. From serene and spiritual to vibrant and harmonious, we will uncover the perfect words that paint a vivid picture of what a church means to each of us.

Adjectives for Church

Here are the 20 Most Popular adjectives for church:

Adjectives for Church Service:

• Inspirational

Adjectives for Church Building:

• Architectural

Adjectives for Beautiful Church:

• Breathtaking
• Magnificent
• Picturesque
• Awe-inspiring

Adjectives for Church Bells:

• Reverberating
• Captivating

Words to Describe Church with Meanings

• Ancient : Very old; of great antiquity.
• Beautiful : Pleasing to the senses; visually attractive.
• Calm : Peaceful and undisturbed; tranquil.
• Devout : Deeply religious and pious.
• Ethereal : Delicately beautiful; heavenly or celestial.
• Glorious : Magnificent and splendid in appearance.
• Holy : Sacred and spiritually significant.
• Inspiring : Filling with creative or spiritual influence.
• Joyful : Filled with happiness and delight.
• Majestic : Impressively grand and dignified.
• Peaceful : Serene and free from disturbance.
• Reverent : Showing deep respect and awe.
• Sacred : Regarded as holy and divine.
• Serene : Calm and tranquil; untroubled.
• Spiritual : Relating to the soul or spirit.
• Tranquil : Quiet and peaceful; serene.
• Unifying : Bringing together in harmony.
• Vibrant : Full of life and energy.
• Wholesome : Conducive to well-being; healthy.
• Worshipful : Showing reverence and devotion in worship.

Example Sentences for Church Adjectives

• The ancient cathedral stood tall for centuries.
• The beautiful stained glass windows shimmered in the sunlight.
• The lake was calm as people meditated nearby.
• The devout worshipers prayed earnestly at the temple.
• Her voice was ethereal as if from another realm.
• The sunrise painted the sky in glorious hues.
• The temple is considered a holy site for pilgrims.
• The motivational speech was inspiring to the audience.
• Children played in the joyful atmosphere of the church.
• The majestic spires of the cathedral reached high.
• The peaceful garden provided a place for reflection.
• The congregation sang hymns with reverent hearts.
• The sacred book is treated with reverent care.
• The serene landscape invited peaceful contemplation.
• The retreat was a spiritual journey of self-discovery.
• The tranquil lake reflected the surrounding mountains.
• The celebration fostered a unifying sense of community.
• The marketplace buzzed with vibrant colors and sounds.
• The healthy meal provided wholesome nourishment.
• The visitors were worshipful in their prayers at dawn.

Explore More Words:

Words to Describe Eggs

Words to Describe Jellyfish

Words to Describe Halloween

How to describe the church in writing?

A church can be described as a sacred place of worship where believers gather to practice their faith and connect with the divine.

What do you call a beautiful church?

A beautiful church can be called “stunning,” “majestic,” “breathtaking,” or “glorious,” depending on its visual appeal and grandeur.

What makes a great church?

A great church is characterized by qualities like a strong sense of community, inspiring worship services, meaningful teachings, and a welcoming atmosphere that fosters spiritual growth and connection among its members.

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About the author.

Hi, I'm USMI, engdic.org's Author & Lifestyle Linguist. My decade-long journey in language and lifestyle curation fuels my passion for weaving words into everyday life. Join me in exploring the dynamic interplay between English and our diverse lifestyles. Dive into my latest insights, where language enriches every aspect of living.

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Smart Church Management

Helping Churches Manage Their People, Time And Money

What Adjectives Describe Your Church?

August 22, 2023 by Patricia Lotich, MBA

Estimated reading time: 5 minutes

Most church members take a lot of pride in their church. They participate and are encouraged by how the church impacts their lives.

And if you asked each of these members to describe their church, they would probably come up with a one-word description.

For instance, a church member might describe their church as inspirational, inclusive, or fun.

Have you ever thought that when we hear a descriptive word, that word often translates into a mental picture, stereotype, or assumption?

Have you ever thought about what adjectives describe your church?

How We Use Adjectives

When we describe experiences, we typically use adjectives to paint a picture to clarify what we are trying to communicate.

And through this, we influence how the person on the receiving end responds to the information.

For instance, if we describe a vacation as relaxing, we send the message that it was restful.

Or if we describe our job as stressful, we communicate that it is taking its toll on us.

Adjectives are used with intention and purpose.

Churches Have Labels

Like it or not, churches are labeled many different things, and the label your church carries largely depends on the leadership and the culture it creates .

When I was looking for a home church a few years ago, I went on a quest to find a community of believers who represented my faith and behaviors that lined up with that belief system.

Through this process, I learned more about what I am looking for in a church and have come up with ten adjectives that describe a church that is doing things in a way that makes me want to attend.

A dynamic church is full of energy and has a lot of activity.

You watch their videos or read their bulletin and can see everything they are involved in.

They have a lot going on both within the church ( to meet the needs of the members ) and outside of the church (to meet the needs of the community ).

This kind of church encourages members to get involved and to be a part of helping to fulfill its mission .

2. Inviting

A church that is inviting is enticing and draws participation. It maintains an environment that others want to be part of and has a culture of inclusion.

The facility is clean , orderly, and purposeful in its layout and design.

Its communications are clear , well-prepared, and easy to understand.

For instance, a promotional video about the upcoming youth retreat makes parents and youth alike interested in participating.

3. Intentional

An intentional church does things on purpose, makes a plan, and implements that plan.

Everything is done for a reason and supports the strategy and mission of the church .

For example, when a church develops a plan to train volunteers , that is an intentional way of developing volunteers to not only do the work, but to demonstrate desired behaviors.

4. Interactive

People join churches for the community, and interactive churches encourage relationships and fellowship with other members.

This can be done by providing opportunities for members to participate in small groups, church events designed for fellowship, or through organized outreach to the community.

5. Welcoming

A church that is welcoming greets visitors in a kind and courteous manner.

They make guests feel welcome and do their best to make visitors feel part of the community.

For example, a well-designed Greeter program can help visitors know where to go and how to navigate the church facility, what opportunities there are to participate in, or the many programs for children and youth.

6. Relevant

Relevant churches are in tune with the issues and events of the world and provide an environment and teaching that is pertinent to our day-to-day lives.

It influences members to develop Christian values that help them respond to the issues of life.

For example, churches that offer programs to support the very real issues of divorce or child-rearing are relevant to our everyday lives. These programs share Biblical principles that can help members apply these principles to life’s struggles.

7. Educational

Churches should have great systems for educating members. This might include what they believe, why they believe it, and how to apply those beliefs to everyday life.

Biblical principles are so applicable to every facet of our lives that it is vital to have this kind of thorough and structured teaching for church members .

I believe life should be fun, and the church should know how to laugh and play.

Creating a fun environment for members makes them want to engage more and participate in the mission of the church .

9. Proactive

A proactive church is prepared for the unexpected and anticipates unforeseen events.

They do a good job of emergency planning . This preparation helps the church proactively respond to emergencies rather than being caught off guard by a sudden crisis.

For instance, if your church is in an area that is prone to hurricanes, an emergency plan would provide the necessary steps to take should the church experience a natural disaster.

10. Responsible

Churches are stewards of the resources that God has given them – which are people, time, and money.  

A responsible church is a good steward of those resources and is accountable for properly managing God’s blessings.

This financial responsibility includes developing a church budget and overseeing the proper use of financial assets.

Church Leadership Influences Labels

All churches are labeled with adjectives, and as leaders, we can influence those labels through example, teaching, and the development of a culture that reflects God and His Holy Word!

What adjectives do you use to describe your church?

Hone your Church Administration skills by enrolling in our Church Administration Course .

About Patricia Lotich, MBA

Patricia Lotich is a Certified Manager of Quality and Organizational Excellence through the American Society for Quality and is the author of Smart Church Management: A Quality Approach to Church Administration . She helps churches fulfill their mission by managing their resources of - people, time and money.

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

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

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

Here’s how to describe buildings in writing:

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

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

1. By Historical Period

Table of Contents

Different historical periods offer a plethora of architectural designs.

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

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

Some historical periods to consider are:

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

2. By Material

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

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

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

Examples of materials :

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

3. By Height

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

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

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

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

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

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

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

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

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

5. By Function

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

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

Examples of functions :

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

6. By Atmosphere

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

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

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

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

7. By Surroundings

Buildings don’t exist in isolation.

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

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

Context, in essence, is a silent storyteller.

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

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

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

8. By Color

Colors are a palette of emotions.

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

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

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

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

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

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

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

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

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

10. By Architectural Style

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

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

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

Examples of architectural styles :

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

11. By Cultural Influences

Every culture has its distinct architectural imprints.

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

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

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

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

12. By State of Repair

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

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

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

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

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

13. By Decorative Elements

Details matter.

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

Examples of decorative elements :

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

14. By Lighting

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

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

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

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

15. By Acoustics

Beyond the visual, what does a building sound like?

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

Acoustics can also serve as indicators.

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

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

16. By User Experience

How does one navigate or experience the building?

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

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

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

17. By Integration with Nature

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

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

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

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

18. By Innovations or Anachronisms

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

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

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

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

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

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

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

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

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

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

21. By Ornamentation and Artistry

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

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

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

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

22. By Patronage or Ownership

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

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

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

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

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

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

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

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

24. By Social and Economic Status

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

Mansions, penthouses, and gated communities often exude opulence.

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

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

25. By Sensory Appeal

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

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

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

26. By Folklore or Legend

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

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

Such tales add depth, intrigue, and cultural context.

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

27. By Climate Adaptation

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

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

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

28. By Relation to Other Structures

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

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

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

29. By Adaptive Reuse

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

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

Transformations show the evolving narratives of buildings.

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

30. By Emotional Resonance

How does a building make one feel?

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

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

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

31. By Historical Events

Many buildings carry the weight of significant historical events.

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

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

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

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

32. By Foundation

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

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

Different terrains require different types of foundations.

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

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

33. By Roof

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

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

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

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

34. By Landscape Integration

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

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

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

35. By Socio-political Context

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

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

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

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

36. By Architectural Philosophy

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

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

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

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

37. By Spiritual or Religious Significance

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

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

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

38. By Reflection of the Times

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

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

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

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

39. By Personal Stories and Anecdotes

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

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

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

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

40. By Flooring

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

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

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

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

41. By Urban vs. Rural Setting

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

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

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

42. By Ecological Impact

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

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

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

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

43. By Underground Space

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

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

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

44. By Human Interaction

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

Are its halls always crowded?

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

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

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

45. By Technological Advancements

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

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

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

46. By Adaptability and Flexibility

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

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

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

47. By Fragrance and Aroma

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

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

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

48. By Security Features

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

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

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

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

49. By Mystique and Legends

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

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

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

50. By Seasons and Weather

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

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

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

51. By Movement and Dynamics

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

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

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

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

52. By Proportions and Geometry

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

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

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

53. By Hidden or Secret Elements

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

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

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

54. By Time of Day

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

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

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

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

55. By Parking

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

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

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

Parking is a functional aspect that often gets overlooked.

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

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

56. By What Is Missing

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

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

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

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

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

57. By Literary Genre

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

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

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

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

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

50 Words to Describe Buildings

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

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

25 Phrases to Describe Buildings

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

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

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

Three Full Building Descriptions

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

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

The Old Manor House

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

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

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

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

Pinnacle Tower

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

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

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

Lilac Cottage

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

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

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

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

Final Thoughts: How to Describe Buildings in Writing

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

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

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

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

Related Posts:

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

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Easy steps for telling your church’s story

By *Aaron Crisler

Storytelling is an art. Writing a story well is a bit like making a movie inside someone’s head — you want to paint the picture so well that the person reading it feels completely invested. 

Good storytelling influences the brain, too. In a study at Princeton University , scientists found that when you listen to or read a well-told story, part of your brain responds as if you were literally inside the story.

There’s bound to be some wonderful stories to tell about your church. Joe Iovino, director of Member Communications for UMC.org, and Crystal Caviness, senior content development specialist, know what it takes to tell a good story. So, we asked them for their best tips to help get you started.

Caviness describes herself as a fearless champion of stories for The United Methodist Church. With more than 12 million members globally, there are a lot of stories to tell of members who daily live out their faith, helping their neighbors and sharing the love of God. “My desire is for those stories to be heard, not just within the church, but throughout the world. That’s how transformation takes place,” Caviness says.

WHO ARE YOU WRITING FOR? Before you set pen to paper — or, rather, in today’s world, fingers to keyboard — you’ve got to know your audience. Iovino has identified his audience as the members, constituents and the curious of The United Methodist Church. For you, it may be potential volunteers, disengaged church members or even potential new church members.

Caviness says she wants to engage and empower the reader. “Often, we share stories of how United Methodists strengthen their faith or how they express their faith and show God’s love in their communities. The best outcome would be for someone to read the story and say, 'I can do that, too.'”

Iovino finds that specificity has a broad appeal. “There are lots of 'Garys and Shellys' and confirmation class students. Write to one of them, and your writing will make sense to all of them. Your message will be clearer and more focused,” he said. “Even those who are not part of that specific target but are adjacent will get it, too. When we try to write to everyone, we are writing to no one. When we write a clear, focused story that we are telling one person, there are lots of other people who will want to hear, who will catch on.”

Authenticity is a key component when connecting the reader to the story. “Real people sharing honest thoughts about what they are experiencing is the way to connect,” Caviness says. “Sometimes life is hard, sometimes it’s messy. Being a Christian doesn’t make that untrue. At UMC.org, we strive to tell stories of real faith and how that faith and, often, the person’s United Methodist community, supports them even during struggles.”

CHOOSE AN ANGLE When you start to choose your angle, think about the famous W's of your story: the who, what, when, where and why. Potentially the biggest of these is the why — why is this worth writing and why will someone read it? What makes your story unique, nuanced? “For me, the questions to ask before I decide on an angle is, 'Why am I telling this story? Why is this going to appear on our website?' Find your why and you’ve got a story!" Iovino says. "Chances are if you find something super interesting, your audience will, too!”

Caviness says, “Start with a relatable, interesting and/or unique topic and talk about it in an honest and engaging way. That’s a solid start.

CLICK, CLICK, CLICK! OK, so you know your audience, you know your angle and you’ve got your story. Now, you’ve got to get that audience to click the story and read it. This is where an attention-grabbing title is of utmost importance, especially if you are writing for the web.

Some research  says you have only eight seconds to grab a person’s attention. So, the title of your article has to grab the reader’s attention and hold it.

“Your title needs to command attention, to pop,” Iovino says. “There are a ton of titles that will appear on our potential readers’ screens. We need our title to compel them to click on our story rather than all the others.” For example, some of Iovino’s favorite titles are: “ How sweet it is: United Methodists and bees ,” “ Jesus wept. So should we ” and “ Asbury, Ted Lasso and second thoughts .”

Iovino says, “All have good keywords, identify the angle and are short and catchy.”

Also, make your title as short as possible. When viewing the title of an article online, most mobile and desktop browsers will show only the first 50-60 characters of a title . 

All right, now it’s time for you to write that article! You’re well on your way. Remember to make a movie in the mind of your readers and draw them in.

Happy writing!

Want more inspiration? Here are a few more articles to read about writing:

• How to write engaging online content
• Writing press releases with pizzazz!
• 5 tips for writing articles that get noticed

*Aaron Crisler is a senior public relations specialist for United Methodist Communications in Nashville, Tenn.

For 80+ years, United Methodist Communications has been leading the church in telling inspirational stories of God’s work in the world through The United Methodist Church, reaching new people, supporting local churches in vibrant communications ministry, equipping leaders and delivering messages of hope and healing. This essential work requires financial support. If you believe in our mission, consider a tax-deductible donation to the work of United Methodist Communications through its Foundation at  ResourceUMC.org/GiveUMCom .

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