creative writing body description

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Word lists, cheat sheets, and sometimes irreverent reviews of writing rules. kathy steinemann is the author of the writer's lexicon series..

500+ Ways to Describe Body Build and Physique

(Discover even more words in The Writer’s Body Lexicon .)

Brevity or Verbal Diarrhea?

Some authors fill multiple paragraphs when describing each character.

Stephen King’s advice: “Thin description leaves the reader feeling bewildered and nearsighted. Overdescription buries him or her in details and images.”

Romance, science fiction, or fantasy usually requires more description than a whodunit. The writer’s duty when describing characters is to compromise between the desire to depict every wrinkle, and the need to keep readers engaged.

This post provides ways to describe bodies and physiques. Well-chosen words create vivid imagery without slowing action or boring readers.

You may notice a few unfamiliar descriptors in the mini lists that follow. It is definitesolutely permitted to create new words, even (oh, the blasphemy!) adverbs.

Weight: Above-Average

Proceed with caution. Many of these terms are pejorative and may alienate readers if not used wisely.

For example, a school bully might describe his latest victim as porky, but a husband should keep such opinions to himself, unless those opinions appear via internal monologue — an excellent way for a writer to reveal a character’s true sentiments.

A to F ample, baggy, baggy-figured, beer-bellied, big-bellied, big-boned, bloated, blubbery, broad, bulging, bulky, chubby, chunky, corpulent, cumbersome, curvaceous, dimpled, doughy, dumpy, elephantine, fat, fatso, flabby, fleshy, full-figured

G to R generously padded, generously proportioned, gross, heavily built, heavy, heavy-set, hefty, Humpty Dumptyish, large, large-boned, matronly, obese, overheavy, overweight, paunchy, plump, podgy, ponderous, porky, portly, potbellied, pudgy, puffy, roly-poly

S to W sloppy, squat, stocky, stout, sumoesque, swollen, thick, thickset, tubby, ungainly, unwieldly, weighty, well-fed, well-padded, well-rounded, wide

Weight: At or Below-Average

Several of the adjectives in this section could also appear in the Height: Tall area. For example: beanstalk and lanky .

A to R aerodynamic, angular, beanstalk, bony, delicate, fine-boned, gangly, lank, lanky, lean, lissome, lithe, meager of body, narrow, rawboned

S to W scraggy, scrawny, sinuous, skeletal, skin-and-bone, skinny, sleek, slender, slight, slightly-built, slim, small-boned, spare, spindly, spiny, streamlined, stringy, svelte, sylphlike, thin, trim, underdeveloped, underweight, waif-like, willowy, wiry, wispy

Physical Condition: Good

Pay attention to nuances. Muscle-bound , for example, might indicate that your character has overworked his or her muscles into a state of inflexibility.

A to L active, athletic, beefy, brawny, built, bullish, bullnecked, burly, defined, dense, developed, durable, firm, fit, hale, hard, hardy, healthy, Herculean, hulking, hunky, husky, in shape, limber, lusty

M to R meaty, mesomorphic, mighty, muscle-bound, muscular, nimble, pliant, powerful, powerfully built, resilient, ripped, robust, rugged

S to W shipshape, shredded, sinewy, solid, sound, stalwart [dated], strapping, strong, sturdy, substantial, supple, taut, toned, tough, vigorous, well-built

Physical Condition: Poor

Note: in Great Britain, ropy indicates poor quality or health, whereas in North America, it’s more likely to mean strong or fibrous.

A to F ailing, anorexic, atrophied, battered, beat-up, brittle, broken, bruised, burnt, cadaverous, careworn, crippled, crooked, crumbling, decomposed, decrepit, deformed, degenerating, deteriorating, dilapidated, emaciated, etiolated, feeble, feverish, flimsy, fragile, frail, frangible

G to R gaunt, haggard, half-starved, infirm, insubstantial, lethargic, maimed, malnourished, mangled, neglected, out-of-shape, puny, ramshackle, rickety, ropy, rotting, runty

S to W scalded, sickly, starved, underfed, undernourished, vulnerable, wasted, weak, weedy, withered, worn-out

Look around you. Pick an object. Could you include it as a body shape? A woman might have a chest flatter than your thesaurus, or perhaps your male protagonist resembles your upside-down wastebasket.

B to R barrel-chested, barrelesque, blocky, boobylicious, bootylicious, broad-shouldered, bulbous, cylindrical, ectomorphic, endomorphic, flat, hourglass-shaped, inverted-triangular, limp, mesomorphic, pear-shaped, pumpkinesque, pyramidal, rectangular, rotund, round

S to W serpentine, shapeless, shapely, small-waisted, spherical, spidery, square, thick-waisted, top-heavy, triangular, wasp-waisted

Height: Short

Let’s include that wastebasket again: knee-high to a wastebasket . Scrutinize your surroundings to create fresh phrases.

B to R belly-button-high, bijou, compact, dainty, diminutive, dwarfish, eensy, elfin, gnomish, itsy-bitsy, itty-bitty, knee-high, knee-high to a wastebasket, knee-high to a pygmy, Lilliputian, little, low-slung, midget, mini, miniature, packed-down, peewee, petite, pint-sized, pocket-sized, puny, pygmy, runty

S to W sawed-off, shoulder-high, shrimpy, shriveled, shrunken, small, small in stature, small-scale, stubby, stunted, teeny, teeny-weeny, tiny, undersized, vertically challenged, waist-high, wee

Height: Tall

Most people know that redwoods are tall, ergo, redwood-high . With a bit of acerbic word play, a tall Polish stripper might be referred to as stripper-pole-ific .

B to L big, biggish, colossal, gangling, gargantuan, giant, gigantic, ginormous, Goliath, huge, humongous, immense, jumbo, king-sized, large, leggy, lofty, longish, long-shanked

M to W mammoth, massive, mountain-high, of great stature, rangy, redwood-high, sizable, sky-high, skyscraperesque, statuesque, stripper-pole-ific, towering, whopping

More Adjectives: Flattering

Many words that describe skin also function well as body descriptors.

A to P alluring, awe-inspiring, busty, buxom, carved, chaste, chesty, chiseled, comely [dated], cooperative, curvy, delectable, endless, eye-catching, formidable, graceful, handsome, holy, imposing, majestic, neat, nubile, perfect

S to Y sculpted, seductive, sensuous, sexy , shapely, slinky, stacked, stately, statuesque, stunning, symmetrical, voluptuous, well-endowed, well-proportioned, youthful

More Adjectives: Unflattering

You’ll find additional pejorative terms here. Choose with care.

A to R awkward, corpse-like, foul-smelling, furry, girlie-girl, gnarled, grotesque, hairy, hideous, humpbacked, hunchbacked, hunched, lumpy, malformed, milquetoast, misshapen, monstrous, neckless, pantywaist, pigeon-chested, powerless, revolting, round-shouldered

S to W scarred, shaggy, shoulderless, slack, slouched, soulless, stooped, twisted, unresponsive, unwashed, unwilling, unyielding, wimpy, wizened, wooden, wrinkled

More Adjectives: Other

Is that lifeless figure a woman pretending to be asleep, or is she dead? Is your male protagonist’s body really afire, or is he burning with desire?

Maybe you could write a short story that leads readers astray via adjectives with multiple connotations.

A to H afire, aflame, bare, boyish, bullnecked, coltish, effeminate, expectant, familiar, feminine, girlish, gravid, hairless, headless

I to W inert, inexperienced, inflexible, knocked-up, leathery, lifeless, limp, loose-jointed, masculine, nude, pregnant, primitive, rigid, stiff, unclad, unclothed, undeveloped, weather-beaten

A to Y anemic, ashen, black-and-blue, bronzed, chocolate, coffee, copper, dappled, freckled, golden, grey, jaundiced, pale, pallid, pasty, pink, purple, red, ruddy, sunburnt, swarthy, tanned, tawny, wan, yellow

See the Color/Tone section of 300+ Words to Describe Skin for more color possibilities.

Some of the following are cliché, but they provide seeds for new ideas. A character might be built like:

a bag of doughnuts a Barbie Doll a battleship a boar a bulldog a Cadillac a cannon a centerfold a cheerleader a coiled cobra a fairy a feather pillow a grizzly a gymnast a Ken Doll a linebacker a military action figure a moose an ox a panther a pixie a Porsche the Rock of Gibraltar a refrigerator a shark a stick a straw a tank a thoroughbred

Here are a few more seeds to stimulate your imagination. Compare your character’s physique to:

a blimp a book of countless pages a bottle of fine wine concrete a crime scene an enigma a fairyland a ferret forbidden fruit a fortress a fragrant meadow an ice palace a machine a mannequin a marionette a masterpiece a maze a mystery a nightmare a nunnery a prison a rag doll a riddle a rose, complete with thorns a secret fantasy a sewer a snare a trap unattainable dreams uncharted waters an unreachable star a watermelon a weapon a weasel a wet dream a wonderland a work in progress

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6 thoughts on “ 500+ Ways to Describe Body Build and Physique ”

This is so helpful. I write stories about little guys (small, non-muscular, anamorphic) overpowering the biggest, strongest muscle man. I noticed I use a lot of repeat words and trying to improve. This information is so helpful. Thank you.

I’m glad you find it helpful, Chris.

Good luck with your stories!

Congratulations on your top50 blogger award. Well deserved. Thank you for this list of words, too.

Thanks, Vivienne!

As per usual, I’m appropriating this and sharing it with my FB and Twitter friends. You’re an amazing asset to the writing community. 🙂

Thanks, Jenn!

Awesome Resources for Creative Writing: Body Cheat Sheets

December 29, 2015 By Andy Peloquin

Writers After Dark

—Life Through the Eyes of Storytellers—

Using Body Language in Your Novel, Part One—Facial Expressions

How ’bout you and I get physical today? *Kat blows a kiss*

Don’t worry; I’m not trying to be inappropriate with you (any inappropriateness happens naturally, there’s no try here, it’s all “do”—ask Yoda). I’m only trying to share some of my notes on getting physical. Or rather helping you add some layers to your characters with the use of body language.

In art, there’s a term called underpainting–it’s the building of layer upon layer upon layer. And that’s what we want to do with our characters so the reader can experience a deep subconscious connection to them. We’re going to layer them up with some good old-fashioned physical actions.

So let’s get into it.

Reading another person’s body language is tricky. But most of our body parts are quietly communicating how we feel and what we want, whether we realize it or not. This is helpful in fiction. Although words can be deceptive, the human body is a terrible liar. It provides a surprising amount of information on what other people are thinking or how they’re feeling.

Here are some body language “tells” to further enhance your characters’ emotions:

Part One: Facial Expressions

Chin, neck, and jaw:.

* Jutted chin. Described as extending your chin in front of you. Use it to indicate your character is being arrogant, inflexible, or stubborn. This can also be used to describe someone who feels superior to the other characters.

* Neck. The way you describe your character holding his neck can indicate anxiety or confidence. For example, if he’s looking at the floor or ceiling you know he’s nervous or unsure. But if he holds his head straight up, he’ll look calm and self-confident.

* Clenched jaw. A clenched jaw and tightened neck can be used to indicate stress, anxiety, or to portray that your character’s mind is elsewhere.

* Frowning. This can be used to indicate disapproval, lying, displeasure, or concentration in your character.

* Scowling and grimacing. Same as frowning—can be used to also indicate unhappiness, disagreement, or hurt.

Mouths can say a lot of things without words. These are some things your character can say with just their lips.

* Pursed lips. Described as lips pulled inward from all directions. Use it to indicate: tension, frustration, distaste, disapproval, lying/withholding the truth, or anger. For example, you can use it to showcase a character holding her mouth shut to prevent herself from saying something she shouldn’t.

* Turned up lips. Described as having the corners of the mouth turned upward. Use it to indicate a smile of pleasure, which will engage the whole face. Or use it in a grimace of disgust, in which case the teeth are unlikely to be shown, making it flat and tense.

* Turned down lips. Described as having the corners of the mouth turned down. Use it to indicate sadness or displeasure.

* Parted lips. This can be used to indicate your character is flirting. Especially if the lips are then licked . . . and to kick it up a notch, add intensity by having the character hold the other person’s gaze.

* Puckered lips. Described as having the lips in a kiss shape. Use it to indicate desire primarily. But it can also show your character may be experiencing uncertainty—showcase this more by having her touch her puckered lips with her fingers.

* Tight or flattened lips. Described as squeezed flat lips or an exaggerated closed mouth. Use it to indicate disapproval, frustration, or a repressed desire to speak. Or even to show your character is trying not to cry.

* Retracted lips. Described as pulled back with exposed teeth. Use it to indicate either a broad smile or a snarl of aggression. Don’t forget to pair it with the eyes (see below)—crinkles for a smile and for the snarl, your character can have narrowed eyes.

* Twitching lips. Described as quick, small movements of the mouth. Twitching lips can indicate the betrayal of inner thoughts, cynicism, and disbelief.

* Biting the lips. Usually, this is the bottom lip. Use it to indicate flirtation (paired with eye contact), anxiety, stress, lying, or as a suppressing action (like your character stopping himself from saying something).

Smile and laughter:

Focus on describing what’s happening around the eyes.

* Fake Smile. If you want your character to have a fake smile, point out the lack of crinkles around the eyes. Conversely, with a . . .

* Genuine smile , if your character is smiling joyfully, their eyes will crinkle. So be sure to add crow’s feet on the outside of your character’s eye.

* Shy smile. Described as head turned slightly down or away while holding a closed-lip smile. This can be used to help your character look more innocent, secretive, youthful, or playful.

* Smug smile. You know that self-satisfied smile! This can be used to indicate arrogance, feelings of superiority, or as an attempt to dismiss what another character is saying. On the other hand, it can also be used to show flirtation as a sign of humor and playfulness.

* Slight smile. This can be used to indicate an attempt at seduction, especially if it’s accompanied by direct eye contact. Or on the other hand, it can indicate your character is unsure, or worried about another person’s perception of them.

* Smirk. Otherwise known as a twisted or lopsided smile. Described as a smile where the mouth moves in opposite directions, with one side of the lips moving upward as the other side slants down. It can be used to indicate mixed emotions, anxiety, sadness, sarcasm, irony, or embarrassment.

* Laughing. If one character is receptive to another character’s humor, she’s probably into him. Laughter serves as a way to indicate a desire for a relationship—platonic or romantic.

* Excessive or exaggerated nodding. This could indicate anxiety about approval. It’s a good action if you want to showcase your character being worried about what a specific person may think of them.

* Hair. This may not be an actual body language, but it’s helpful for appearance’s sake. The way your character carries her hair can be used as “tell signs.” Give her perfectly groomed hair to showcase her need to be in control. And THEN give her frazzled locks in a scene where you need to really highlight the level of tension and angst she’s going through.

* Touching face. If your character repeatedly touches his face, he’s probably nervous, anxious, or stressed.

The key is to add a mismatch between what your character is saying and what his (usually tense) body language is revealing. Use these “tells” sparingly, and you’ll be adding a great layer of emotional description! 😉

Be sure to come back in the next few weeks for more body language tips for your novel.

Coming up next: eyes, posture, arms, shoulders, legs, and feet.

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Published by S. Katherine Anthony

S.K. Anthony (Shanny) is a writer, a reader, and make-stuff-up-er who lives in New York. She is an award-winning author and a podcaster. When she isn’t busy with her toddler twins, S.K. finds herself being transported into the world of imagination. Well, either that or running away from spiders . . . she is convinced they are out to get her! View all posts by S. Katherine Anthony

20 thoughts on “Using Body Language in Your Novel, Part One—Facial Expressions”

You know if you wrote a how-to book for indie authors I’d buy it, right? 😉

Like Liked by 1 person

I appreciate you saying that, Felicia!!! We do have several of those in the works, but want to make sure we offer truly helpful advice. I will be sure to reach out to you when we’re ready! I would love your input when it’s time! 😘

YASSSSS! So glad to hear this, S.K.! If your books mirror your blog posts, trust me – they will be helpful!

I save your blog posts as docs then import them into my Scrivener research folder. Would love to have a book-in-hand instead. Looking forward to the day! 😉

Reblogged this on Nesie's Place and commented: Fix your face! 😄 Using facial expressions in fiction.

Thanks for sharing! 💜💜💜

Head, shoulders, knees and toes, knees and toes . . .

You know I can’t help singing it. This is so thorough and helpful! I can’t wait for the next ones. And I agree with the above commenter. You could put this all together in book form and people would love it.

Well, there’s no one else who can take away the seriousness of our posts like you–with a kiddie song nonetheless lol

And, yes, as you already knew Miss Editor, those books are in the plans! 😊

No kiddie song can take away the quality of what you two post, that’s for sure. But I gotta be me!

[…] Facial Expressions (what they are and when to use them) […]

[…] See Part One—Facial Expressions here. […]

These are very helpful tips. I have read so much over the years, that I naturally just used these as part of my character building. I hadn’t really stopped to think of the breakdown in emotional connection. Lol Also, since you have young twin girls…when do you find is your BEST time to do your writing? I have 2 little ones as well.

What is writing? lol Honestly, I struggle to find the writing time . . . which is why my books take a few years each 😂 And, actually I have boy/girl twins, I try to write (both books and articles) at night when they sleep. What about you with your two little ones?

I like the ‘lippy oh’

Great tips SK, I have used a few of these but frequently forget to add them. Excellent first list.

JT!!! Hi 🙂 I frequently forget, too! I worked on this series in hopes it sticks this time lol

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Learn story writing from the masters

Body Language for Writers: Your Ultimate Guide

46 Remarkable Comments

46 Comments

“Don’t tell me the entire apartment is under water.” Curly scratched his head. “I scuba dived only in the living room.”

You read the dialogue lines above, and you immediately know about the situation: Curly is confused.

And the reason you know exactly what’s up is, you guessed it, the fitting description of body language. Body language is added in just four tiny words. But those four words add a lot of depth to the scene!

Let’s say you wanted to give your entire scene a completely different meaning. All you would have to do is change that body language snippet. Just read the dialogue again, but this time replace the body language part with one of the following parts:

Curly shook his fist. (He is pissed at somebody and maybe threatening them.)

Curly sniffed back his snot. (He is devastated.)

Curly grinned and rolled his eyes. (He is a looney bin and a little destruction doesn’t faze him.)

Yes, that little description of physical movement is so powerful it gives your scene a completely different context. You describe a lot with very few words. But at the same time, you achieve much more:

• The physical snippet makes you visualize the scene; it puts the graphic image of a wide-eyed guy with his fingertips in his hair into our heads.
• It also brings some nice variation to your dialogue; it’s more interesting than a plain, boring dialogue tag (“ Curly said ” or “ Curly stuttered ”).
• It reveals character and unstable emotion – you know you are dealing with a pretty whacky, entirely confused guy (with potentially wild hair, “ Curly” ).
• And finally, it adds some physicality to your story, as opposed to just “blah, blah, blah” dialogue and scenic description. It makes for well-balanced speech.

All of this is the power of using body language.

In this post, read:

• Which 4 other options besides body language you have to demonstrate dialogue
• The worst mistake you can make with body language
• How to get to perfectly fitting description of body language

And like always, oh esteemed reader, a tasty, tasty free download is on the menu. This time, it’s a 2-sheet-summary of this post; it will give you a quick overview of its most important points.

Print it out, and put it next to you on your desk, so you have it in front of you while you write. Or just store away safely in a drawer and forget about it:

Now raise your eyebrows and drop your jaw in delight, because here is my complete Body Language 101 , summarized by five quick tips that will help you with “puppeteering” your characters:

1. Use Body Language Only From Time to Time

Sneak your body expressions into the mix unobtrusively. Don’t forget that you have several other options to “tag” and break up your dialogue lines:

• You could just leave the dialogue line standing alone (“Let’s go to the party then!”)
• You could use a dialogue tag (“Let’s go to the party then,” Eleonora squeaked.)
• You could describe what the characters are doing (“Let’s go to the party then!” Eleonora held the invitation out to him.)
• You could describe what else is happening in the scene (“Let’s go to the party then!” Suddenly the doorbell rang.)
• You could describe a facial expression, posture or movement of the character who is speaking and put it directly before or after his dialogue line, to let the reader connect the dots himself (“Let’s go to the party then!” Eleonora’s face lit up.)

Try to vary these options, so none of them gains the upper hand and becomes annoying. That way you will get a well-balanced and structured scene that pays equal attention to dialogue, characters and descriptions.

When you insert body language, always do it in passing and don’t give any extra weight to what you describe.

Emotion: Angry

2. no explanation, just body language.

“So surely you can tell me where you were on the evening of the twenty-second of October?” George asked with eyes narrowed to slits because he felt very suspicious about Blake’s story.

This example does both, showing and telling. That’s one too many, and the too many one is the telling part! Cut out “ because he felt very suspicious about Blake’s story. ”

When you write like this, you also take your reader for stupid. Let her connect the dots herself – if she has followed the story, she will know why George’s eyes are pressed to slits.

Write it like this instead: “So surely you can tell me where you were on the evening of the twenty-second of October?” George asked with eyes narrowed to slits.

That’s much better, now we don’t even have to go inside George’s head artificially (“ George felt suspicious ”); we can just describe objectively what the reader sees. By laying out our dialogue and scene well, we can be certain she will know what’s up.

Conclusion: Whenever possible, don’t name the feeling, but just show the body language. And definitely never put both of them (body language and description of feeling) together in the same sentence.

3. Have a Very Clear Idea of What Your Character Is Feeling

“Randy held one hand in his other behind his back, then suddenly stroked his throat while he was leaning towards Linda.”

What’s happening here? Nobody knows, Randy’s behavior is too much. As far as we are aware, it doesn’t make any sense. It seems like the writer pays attention to the undertones so much, that in the end he is not really depicting anything but undertones…

Don’t write so cryptically that nobody can understand where your character is coming from. A single description of body language at a time is absolutely enough. You, the author, always have to be clear about what your characters are feeling. And the characters’ body language has to match their feelings.

Emotion: Overjoyed

4. follow your intuition when describing body language.

Your best bet is to take it from yourself . Imagine you feel flattered by an enormous compliment, like the best compliment ever . What expressions would your face, your arms, your body be making? Totally immerse yourself in the feeling like a good actor, and see how your body responds.

Remember the last time you felt really envious about somebody?

Use that memory to immerse yourself in the feeling for a second and ask yourself how your body would react. I bet you are super imaginative, so you can do it!

Reading a book about body language is also an excellent idea. The Definitive Book of Body Language by Allan and Barbara Pease is a very systematic and comprehensive guide to everything you ever wanted to know about body language. I recommend it whole-heartedly.

Emotion: Happy? (Different Rules for Aliens)

5. several types of body language you can use.

• Facial expressions: The human face is an endless source of expressions. Think of raised eyebrows, tightly pressed lips, blown up cheeks, wrinkled noses, wide eyes, frowned brows, poked out tongues, widened nostrils… most feelings show through several features
• Body postures: Crossed arms, legs wide apart, foot put forward, leaned back upper body, spread elbows, locked ankles, body pointing away, tilted head… all of these have something very distinctive to say
• Body movements: Adjusting tie, nibbling on temple of glasses, tapping foot, raising hand with palm toward opposite, flicking hair, putting hands in pockets, grabbing the other’s upper arm, scratching one’s nose… do you know what all of these mean?

These are just some pointers. Try to come up with authentic, unique expressions you have noticed with yourself or with people around you.

And there you have it, 5 quick tips. Which means it’s…

Writing Prompts Time

“I will never again come to one of your parties,” Paul said angrily.

“What does this headline say about the Labour Party?” Annabelle asked curiously.

“You better not break your fingers when your drive in that nail,” Jill said in an amused tone of voice.

“Come on! Go, go, go, go, Aaaaaalbert!!” They cheered him on excitedly.

“That rain is a drag,” Ernesto said sadly.

“Thank you very much,” she said, visibly flattered.

Equipped with all of this knowledge, you now have an extremely elegant and effective way to describe what’s really happening under the surface of your dialogue. You can now go and fill your characters with overflowing emotions and life.

Once you manage to describe the body language of your figures accurately, they will automatically take on a life of their own: Your reader will feel like they were standing next to him in his living room.

And they will embrace them and love or loath them whole-heartedly…

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Image Credits: Lama: Photoplace/Fotolia; Angry Bunny: Serkan/Fotolia; Pig: Piumadaquila/Fotolia; Alien: RATOCA/Fotolia

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46 Remarkable Comments. Join in!

I came over here to your blog because I was looking for something for my character to think, feel, see after passing out on the lawn.

“Come on! Go, go, go, go, Aaaaaalbert!!” Elise and Brian ran along the sidelines till Albert’s wheelchair disappeared around the bend.

Hey Alice, I guess you mean this post: https://www.ridethepen.com/description-5-senses/

What you are describing is more action than body language. Try to think of what they look like when they cheer him on: Their facial features, their limbs, etc… Imagine you are cheering on your best friend; describing becomes pretty easy then!

Everything I thought about the last ten days seemed to be action. I must write a lot of action in my draft. I have to check that out when I get back from visiting my mother. I’m probably too late with a revised sentence but here goes.

“Come on! Go, go, go, go, Aaaaaalbert!!” Brian wrapped his arm around Elise as she raised her eyes toward heaven.

Greetings! I usually try to show emotion in my characters’ body language. I learned a lot from this post and even picked up a few extra pointers along the way. Thanks for this brilliant view into the body language of characters!

At your service! 😉

This was extremely helpful. I was so over he said, she sneered or they laughed, etc. I have used body language but you have given me a great tool to use it correctly and sparingly. I love reading all your helpful hints!

It’s Diane House…lol…I spelled my own name wrong!

Glad it helped, Diane. Just keep on using body language with these little hints in mind, and soon it will become second nature to you!

Hey Alex, Thanks for another great post. So helpful and full of good reminders as usual 🙂

Thanks, Anne! Enjoy!

AWESOME! Really?

From my Thesaurus: Awesome (as in “amazing”) adj. : inspiring awe or admiration or wonder; “New York is an amazing city”; “the Grand Canyon is an awe-inspiring sight”; “the awesome complexity of the universe”; “this sea, whose gently awful stirrings seem to speak of some hidden soul beneath”- Melville; “Westminster Hall’s awing majesty, so vast, so high, so silent”  

These 9 comments are QI – quire interesting – not AWESOME!!

Aren’t we writers? Can’t we calibrate simple language better than this?

“I will never again come to one of your parties,” Paul said angrily. This could be changed to: “I will never again come to one of your parties.” Paul’s face flushed.

One small note: In this example, So surely you can tell me where you were on the evening of the twenty-second of October?” George asked with eyes narrowed to slits. Why not just say , “George’s eyes narrowed to slits” and leave out the tag asked.

I like it. You would just have to make sure that the context tells us the flushed face comes from anger (and not, for example, embarrassment). The rest of the scene would hopefully make us understand that.

George example: Yes, you could definitely do it like that too. Your example sounds more elegant, but both are fine.

Ah, I like Paul. Playing with that character is fun.

Here are couple more:

“I will never again come to one of your parties,” Paul said with fists balled.

“I will never again come to one of your parties,” Paul hissed through clenched teeth.

Flouncing out of the room would be more action than body language. But it sure makes an interesting picture 🙂

Good old Paul…

Nice, Will, all of these make very clear and interesting examples.

Maybe I wouldn’t ask Paul again, if he’s going to make a scene. And I would say that with great determination. How I would look, I’ll leave to the imagination.

Right, that guy should throw his own party.

I steal inspiration from your FABULOUS analogies, Alex. Your point about SHOW, don’t tell is perfect for marketing. SHOW, don’t tell others how great you are. Even picked up reminders to vary facial expressions when public speaking. Not just gestures and body movements. Thanks for being a wealth of information. Dreaming of watching you repair overcooked body language during live demos on the Medium platform.:) ~Keri

Hey Keri! Ha, “telling a story” with your face when public speaking sounds like good advice. Us humans just love, love, love emotions…

I have no experience with public speaking, BUT my webinars will be coming soon to you guys. Watch out for them! 🙂

If Curly’s name indicates that he has curly hair, then surely we can guess what Randy is thinking as he leans in towards Lisa??!! ( https://www.thefreedictionary.com/randy ) Mind you, in Australia we probably wouldn’t assume that a guy called Curly has curly hair. It might even be more likely that he has dead straight hair (just as guys called Shorty tend to be really tall here). Or maybe the poor guy got a really bad perm 20 years ago that his mates will never let him forget? Info re body language is great. Thanks 

Hi Pip! We will never know what motivated Curly’s parents. I guess we just have to take that fellow as he is. And yes, sometimes it’s not “nomen est omen.” Good writing!

I hate to be a party pooper, but the first sentence is punctuated incorrectly. Curly scratching his head is an action tag, not a dialogue tag, so the comma should be changed to a period.

“Come on! Go, go, go, go, Aaaaaalbert!!” Sheila cheered him on jumping and wildly waving her arms like a mad woman as he rolled his way across the finish line at the Paralympics last.

Sad, but well resolved, Pamela.

Here’s the rest of the scene:

Albert was grinning ear to ear. He finished the race. The girl he loved climbed the barricade rushing to him happy tears running down her face destroying her mascara yelling, “You did it, you did it! I knew you could!” Sheila threw her arms around him. The participation medal hung like gold as he puffed up his chest welcoming her embrace. He was first in her heart.

Happy end!!!

Much thanks for the post! I always pick up something new here. My take is always, we’re artists. Unlike mere painters, we have to entice the reader to see, feel, even taste what we do. Telling is fine for journalists. We paint with words.

Cheers to us and to enticing and seducing the reader!

“Never again,” Paul shouted, waving his fist in her face/banging the table/thrusting his face into hers. “Never again will I come to one of your parties.”

Thanks for a great post – as always.

Now that’s some anger and aggression there.

You are very welcome, Linda!

“Never again…” Paul was seething, “Will you see me at one of your damn parties.”

Perfectly fine; however, it’s not body language.

Showing… Telling… and dialogue… They all need to be worked together.

The following is an excerpt from my novel ‘SHARKNOSE’ – “Seeing that toyshop has just reminded me of something” (lrd.to/sharknose)

The scene takes place in a small bar in Milazzo – Sicily.

Two older men looked up as he approached their table. The elder of them raised his eyebrows in silent question.

Harris shook his head, “No… niente, signor Grappelli”.

The man answered him in thickly accented English, “Nothing,… Mister Harris? You are quite sure about that?”

Boyd nodded, “I’m certain,” he shrugged, “Look… I know the man.” he drew out a chair and sat down before continuing, “For a moment, I wondered… but it became clear… Woodward has found nothing.” He sipped at the ice cold beer, “The British customs stripped the car and searched it… If anything had been there, they’d have found it… They’d have arrested him… It seems like Vicario had either got rid of them, or had hidden them elsewhere… They weren’t in his car… at least, not by the time it got to Woodward… I don’t believe they were ever there at all.”

“Really, Signor Harris?” The man nodded thoughtfully, “I am not really surprised, my friend… Thank you for your help.”

They looked up as the door opened to admit two young women dressed in impractical heels, brief miniskirts and tops, cheap jewellery, and not much else. Boyd glanced at them. Somehow they didn’t look like tourists.

Grazzianu Grappelli continued, “It seems to be likely that Pontichello found them. He took the car just before he had Vicario eliminated… The fool signed it over in exchange for his miserable life… what is it you Inglesi say? His ‘pride and joy’, yes?” Boyd nodded. The old man smiled, “Yes, he gave away his pride and joy, hoping to live.” He spat out a bitter laugh, “Hah! A fat lot of good that did him, eh? but it would have given Pontichello enough time to search for them if they were hidden there, don’t you agree?”

CORRECTION: The extract above is from DEADWEIGHT – “In my book, that’s almost always murder”, (lrd.to/deadweight) not Sharknose. Sorry for the error (Boyd Harris appears in both novels)

Keep them coming, Chris!

“You better not break your fingers when your drive in that nail,” Jill said, eyebrows raised and smirk firmly in place.

I can see a blue thumb.

Paul tightened his grip on Tom’s throat. “I will never again come to one of your parties,” he shouted, flinging Tom’s lifeless body to the floor.

“Thank you very much,” she said, her cheeks suffused with a crimson glow, as the divested herself of her clothing.

Oh, this exercise is fun…I like it!

Perfectly fine and sounds like a fun story, Anne. However, you didn’t resolve the first line with body expression. The second one you did, and it worked really nicely.

Hi Alex, Here’s my take on, “Thank you very much,” she said.

“Thank you very much,” she said, lowering her head, trying to hide the flush that crept over her face.

I love it; it tells us a lot and blends in perfectly with the narrational flow.

Prompt: “That rain is a drag,” Ernesto said sadly.

Ernesto’s shoulders slumped as he stared out the window, a long sigh hissing through his teeth. “That rain is such a drag,” he murmured, pushing his fingers through his hair. I pressed my lips tight as he threw a weak punch to the windowsill. “Why today, of all days?”

Let me go get my anti-depressants real quick…

Hi Alex, A view from the other side. It’s a pleasure to read the ideas for improving writing that you develop even though, ultimately, I’m on the outside. I write non-fiction, for high school students and non-specialized general public, in Spanish. The body language ideas are very good, but I don’t have the freedom to “be so creative”, that freedom, in my case, is basically a danger. Greetings! José

Hola Jose, I understand, your writing has to stay within certain parameters, no creativity allowed. Maybe one day you will want to tip your toe into the pond that is creative writing.

Saludos a Chile!

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The Emotion Amplifier Thesaurus , a companion to The Emotion Thesaurus , releases May 13th.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Physical Feature Entry: Skin

January 12, 2013 by ANGELA ACKERMAN

Physical description of a character can be difficult to convey—too much will slow the pace or feel ‘list-like’, while too little will not allow readers to form a clear mental image. If a reader cannot imagine what your character looks like, they may have trouble connecting with them on a personal level, or caring about their plight.  One way to balance the showing and telling of physical description is to showcase a few details that really help ‘tell the story’ about who your character is and what they’ve been through up to this point. Think about what makes them different and interesting. Can a unique feature, clothing choice or way they carry themselves help to hint at their personality? Also, consider how they move their body. Using movement will naturally show a character’s physical characteristics, keep the pace flowing and help to convey their emotions. Descriptors :  olive, caramel, brown, black, tan, pale, white, yellowish, gray, ivory, pink, freckled, splotchy, smooth, flawless, rashy, wrinkled, dry, spotted, pocked, hairy, rosy, scarred, saggy, itchy, tingling, acne-spotted… Things Skin Does  (and other words/phrases to describe those actions)

• Shiver : shudder, jitter, tremble, quiver, tremor
• Tingle : prickle, sting, tickle, prick
• Blush : flush, bloom, gild, pinken, stain, tint, tinge

Key Emotions and Related Skin Verbs:  

• Fear : a tightening sensation, prickling or tingling, the hair rising on the arms and back of the neck, over-sensitivity to stimuli, shuddering/trembling/shivering, numbness in the extremities, a sensation of the skin “crawling”
• Embarrassment…

Clichés to Avoid : alligator skin, peaches-and-cream complexion, skin that’s paper thin…

HINT:   When describing any part of the body, try to use cues that show the reader more than just a physical description. Make your descriptions do double duty.  Example:   Lines meandered over her skin, intersecting with scars and puckering where they criss-crossed. It was a roadmap of her past, marking not only the pain but also the changing points that had made her the woman she was today.

BONUS TIP: The  Color, Texture, and Shape Thesaurus  might help you find a fresh take on some of the descriptors listed above! 

Describe your character’s features in a way that reveals more than just a physical description. Show what he looks like while also reinforcing his personality and emotional state, thereby doing more with less.

Need concrete examples of how to describe your character in a compelling, magnetic way? Good news!  This thesaurus has been integrated into our online library at  One Stop For Writers . There, you can find help with  metaphors and similes , as well as the best ways to  describe your character using movement.  The entire Physical Feature collection is cross-referenced and linked for easy navigation. If you’re interested in seeing a  free  sampling of the updated Physical Feature Thesaurus and our other descriptive collections, head on over and register at One Stop!

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

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Reader Interactions

January 23, 2013 at 2:55 pm

oh, thank you for this post. I have a set of characters/ paranormal creatures in my story and I was completely stuck on skin descriptions. btw, I hope this one comes out in book format soon. I bought the emotional thesaurus. Without it, I’m useless.. 😀 Thanks!

January 16, 2013 at 4:36 am

Nice Post..Thank you so much for taking the time to share such a nice information… Skin Care Clinic in Chandigarh

January 14, 2013 at 7:27 pm

You’re going to have quite the thesaurus for me when I get to this point in my edits. 😀 Thanks ladies!

January 14, 2013 at 5:18 pm

You want Hot Girls Pictures or Hot Videos.?? Most popular and famous hot Girls hotentertainnews.blogspot.com

January 14, 2013 at 6:26 am

January 13, 2013 at 11:41 pm

Yours is one of the most unusual… and helpful… blogs in the whole darned blogosphere. I don’t comment often, but I wanted you to know your efforts are very much appreciated. (I LOVE your book, and sincerely hope you plan on coming out with a bunch more of ’em.)

January 13, 2013 at 4:57 pm

Thanks for the post. As always, you continue to give me ideas of different ways to describe people. Very helpful.

January 13, 2013 at 12:21 pm

Another great post. Thanks for this.

January 13, 2013 at 9:35 am

A great post, Becca. When writing short stories, it is hard to get the balance of description and action right – too much and your reader loses interest and too little and they cannot ‘see’ teh person in their imagination.

January 12, 2013 at 4:12 pm

Love these! Skin isn’t something I always remember to describe! 🙂

January 12, 2013 at 1:00 pm

@karoline, definitely you don’t want to over describe. Picking out a few details that help paint a picture is all that is needed, especially at first introduction. It is simply our suggestion that when a writer picks a few details, or later adds an extra bit of description to further that first initial image, that they do it in a way that doesn’t feel list like. If skin were one of the details a writer chose to focus on, then this entry gives ideas on how to make that aspect of physical description add to the movement and flow by being active, and by providing a characterization hint. For example, the quality of skin can tell us if a person is hard working (chapped, lined, scratched, etc) or lives a life of privledge (smooth, creamy, soft) all through our choice of adjectives. 🙂

January 12, 2013 at 12:48 pm

Physical attributes can be a powerful reflection of not only emotion but personality. However, is it wrong to be so specific about a character’s looks to the extent that the reader can hardly imagine them?

January 12, 2013 at 12:39 pm

As usual, you give great ways to express what we see in words. Thanks ladies.

January 12, 2013 at 9:47 am

All your posts always help me learn more English in an interesting way. Thanks!

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How To Write About the Body in Creative Nonfiction

Feb 06, 2018 by Kayla Dean published in Writing

Do you remember the old advice you heard from writing teachers or craft books: make all five senses—taste, touch, sound, sight, and smell—part of the scene ? It may not seem like it, but this advice invites you to write about the body in such a way that your readers feel physically present in the prose.

Take this opening passage from Flaneuse by Lauren Elkin as an example (And check out my previous column for more about this book as it relates to writing creative nonfiction!):

“On a street in Paris, a woman pauses to light a cigarette. She holds up a match with one hand, its box and a glove in the other. Her tall figure aligns with the shadow of a lamp post, two forward slashes on the wall behind her as a photographer closes the shutter. She is fleeting; pausing; permanent.”

What’s so lovely about this moment is its physicality. We’re aware of Paris as a place and asked to consider it as a cultural archetype. But then Elkin takes us beyond that. She details the actions the woman must take to light the cigarette, giving the moment significance instead of delivering a reported action. The last line portrays the woman as a moving figure, and we are engaged.

This is just one example. There are so many places you can take writing about the body and physical space. Let’s get into the details.

Be in The Moment

Think about a great narrative you read recently, fiction or nonfiction, with a scene that made you feel engaged. What made it great was probably its immediacy, physicality, and inclusion of the senses. But there’s something more to writing about a moment. Sometimes it helps to imagine the moment several times as you are writing it. If you can, use tools to make you feel its immediacy.

For example, you can use Google Maps to stand on that street corner and feel the emotion of the place through you or your narrator’s eyes.

Bonus: when you’re taking a walk to inspire yourself, take this advice to heart .

Focus on Identity

Our bodies fundamentally affect our identities. The way we navigate in the world. The way we see ourselves. There’s so much more to writing about the body than simply making your readers be present. What about writing about illness, sexuality, trauma? As Ruth Ozeki says in this writer’s roundtable hosted by Literary Hub , “the body is filled with stories.” It’s definitely an element you can’t forget about when you’re a writer.

Ashley Perez also has great advice in this roundtable on writing about the body :

“As with other writing, narrow your focus. Determine what specific thing your essay is about. That one thing defines this piece of writing. Don’t worry that it defines you or all of your writing.”

In a single piece of writing, there is one you. Embody it. You may also find it helpful to research trauma, illness, or sexuality alongside your own discussion of your personal experience to inform your direction. Sometimes this step can impact the way you write the piece.

Don’t Dismiss Your Experience

In the back of your mind, you may feel that what you’re going through has already been written about. You may be surprised. Sometimes when we try to write about experience we encounter a wall of language, unsure of which figure could tell our experiences in the most compelling way. The body and language can be at odds, but writing about it is powerful.

Virginia Woolf suffered from depression, migraines, and fevers. Her work is filled with references to these moments in her life, but her essay “On Being Ill” beautifully illuminates why we should be writing about the body:

“Literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null, and negligible and non-existent. On the contrary, the very opposite is true. All day, all night the body intervenes.”

In The Atlantic , Joe Fassler wrote about this particular Woolf essay alongside Leslie Jamison’s The Empathy Exams . When writing his first novel, Fassler’s editor told him that he wrote the word “sweat” too much and included too many mentions of plum-colored bruises. The essay is about his “daily dramas of the body,” and it’s a must-read. He writes,

“I imagined myself the bard of swelling; I wanted to write toothache lyrics for swelling—to evoke the chronic panic of its deforming sculptural practice: it shapes you into something like you, but not you. I wanted to bring that aching knowledge to my nonexistent reading public.”

Whether you are writing about illness or the experience of existing in your body, an important step is simply listening to yourself.

Essay Recommendations:

• https://granta.com/kettle-holes/
• https://lithub.com/walking-while-black/
• https://hazlitt.net/feature/year-plagues
• Hunger by Roxane Gay
• The Empathy Exams by Leslie Jamison
• Brain on Fire by Susanna Cahalan

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Cheat Sheets For Writing Body Language

What is body language and how do you use it when you write? Use these cheat sheets to help you with your body language descriptions.

What Is Body Language?

People react to situations with micro-expressions, hand gestures, and posture. Most of us are not even aware of them. However, what we do with our body language has a huge impact on other people and how they interpret and perceive us.

‘Even when they don’t express their thoughts verbally, most people constantly throw off clues to what they’re thinking and feeling. Non-verbal messages communicated through the sender’s body movements, facial expressions, vocal tone and volume, and other clues are collectively known as body language.’ ( Psychology Today )

Body language happens when we are doing something. We could be sitting, standing, or walking. We could be talking or thinking . Body language is often an involuntary reaction to something perceived by one of the five senses .

How To Use It In Writing

Using body language is one of the best ways to show and not tell when we write.

This is why we are always told to use body language in our writing. Sometimes, it’s easier said than written. So, I created these cheat sheets to help you show a character’s state of mind through their body language.

When you are completing your character biographies , be sure to include how your main characters move and talk. This is especially important for your protagonist , antagonist , confidant , and love interest . They are the characters that hold the story together and they should be as well-rounded and believable as possible.

The Top Five Tips For Using Body Language

• Use body language to add depth to dialogue .
• Use it because more than 50% of human communication is non-verbal.
• Use it to show how your character’s emotions affect their actions.
• Use it to help you show rather than tell your reader everything.
• Use it in moderation. If overused, it can slow your story down.

TIP: Use our Character Creation Kit  to create great characters for your stories.

Use this list to help you with your body language descriptions. It will help you to translate emotions and thoughts into written body language.

Obviously, a character may exhibit a number of these behaviours. For example, they may be shocked and angry, or shocked and happy.

Use these combinations as needed.

Use our  Character Creation Kit  to create great characters for your stories.

If you enjoyed this, read:

• The 17 Most Popular Genres In Fiction – And Why They Matter
• How To Write A One-Page Synopsis
• 123 Ideas For Character Flaws – A Writer’s Resource
• The 7 Critical Elements Of A Great Book
• All About Parts Of Speech
• Punctuation For Beginners
• 5 Incredibly Simple Ways to Help Writers Show and Not Tell
• 5  Instances When You Need To Tell (And Not Show)
• The 4 Main Characters As Literary Devices
• 106 Ways To Describe Sounds

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• Body Language , Creating Characters , Show Don't Tell , Writing Tips from Amanda Patterson

53 thoughts on “Cheat Sheets For Writing Body Language”

Wow….that’s probably one of the most useful lists I’ve ever seen…thanks!

Very useful…simply superb. Will be handy for me when I sit down to write next time.

A mullion trillion thanks for this incredibly useful page of “show” instead of telling. Thank you xx

I would have liked to pin this on pint rest 🙁

This is the best of the “show” lists I have either made or found. Superb.

Love, love, love these! Thanks for compiling them. I’m going to share them and put them in a file to resource. Michelle Random Writing Rants

This is very useful.

Its really helpful….

great post really!!! thanks for sharing

This is one of the most helpful writer’s guide posts I have ever seen. It is so hard not to write “He looked at her in awe”, but think about the specific body language in that situation. It also helps think about the traits a character can have… Every person is different so one can even put individuality into the writing by giving certain characters characteristic emotional expressions.

Thank you so much for sharing this!!

Thank you, Kimberley.

I know I’ll be referring back to this list often. Thank you so much for sharing.

Thank you, Melissa.

Perhaps this is the best way to hone up the writing skills of one’s own and I should be very thankful to you for helping the writers through this .

This is dangerous if astute advice. Anything that aids progress writing is useful, but anything that aids progress stops you thinking – and it is only by thinking that he universe opens a portal and pours out something original.

Great information not only for writing but observation of these behaviors in action. As a school counselor I am interested in non-verbal cues from others.

Great work! high degree of observation! really impressed.

This is great. There is one word that comes up SO OFTEN that it is distracting to me as a reader and that is “gaze.” People are gazing at things, at each other, they’re gazing all over the place. One time I counted the number of times “gaze” was used in a book and found an instance of 5 times in 4 consecutive pages. But another book used “gaze” 5 times in 4 consecutive PARAGRAPHS. Why the editors don’t catch this is beyond me. My favorite “gaze” quote from a book is, “Her brown gaze settled upon the distant mountains.” That didn’t make me think of her brown eyes. My first thought was that she was seeing smog! Is it strange to say a color with “gaze”? I’ve also seen something like, “His blue gaze swung up.” (the man was driving at the time) It sounds strange to me, but maybe that’s just me. The book with the distant mountains sentence used “gaze” heavily from the second page all the way to the second to the last paragraph! It was painful to read. I got rid of the book.

Very helpful to have this all in one place! Thanks!!!

Thank you! This is great! 🙂

Thank you for this post. It’s very helpful.

This is a good list. But I believe we can always be a little more creative in mixing them up to denote various degrees and subtleties in an emotion.

Yes, Ayan. As it says in the post: ‘Obviously, a character may exhibit a number of these behaviours. For example, he may be shocked and angry, or shocked and happy. Use these combinations as needed.’

These cheat sheets are worth their weight in gold! Thank you for taking the time to put them together.

AWESOME! I was just speaking with a friend who mentioned I needed to do this a little more. Thank you so much.

such an amazingly helpful post! Thank you!

Thank you. We’re glad you find this useful.

Melody, Would have ditched that book too. That’s just bad writing.

Please send me any further articles you put out. This one is very helpful. It makes us aware of the use of each movement as a symbol of inner thought. Thanks

This is the most helpful article I have read about telling vs. Showing. Thank you.

Thank you, Wendy.

Thanks for this really usefull I find that I use the same emotions over and over.

Thank you! This is an excellent reference for a desirable result.

“Excellent list,” she said, rubbing her hands together and grinning. ; ) Thank you!

Thank you, Melissa! I love it!!

Excellent!!

I read this very useful and generous article on stumbleupon.com Thank you for sharing your knowledge with me!

Thank you for the positive feedback. I’m pleased that this helps.

Thank you for this :))

Thanks for the helpful post! Great resource for the scripts I’m co-writing.

Simply superb compilation ! No more adjectives.

Thank you! We’re glad that you find these lists helpful.

Very useful! Thank you so much!

What a succinct and useful list!

“Unfortunately,” (pause, lips pursed indicating deliberation and thought) “these are almost” (stress on final word, downward tilt of the head with slight inclination to the left as the speaker maintains gaze on listener indicating mock-serious intent) “entirely” (extra stress on this word, head lifts and turns full-on indicating intent) “cliché” (jaw firms, slight downward shift of the brow, eyes narrow indicating mild annoyance.) “Sorry” (head lifts, jaw pushes out, eyebrows raised indicating belligerence and complete lack of genuine apology).

quite informative, and precise. thanks.

i’m highly grateful to you, thanks a lot n million, may god bless you a long and happy life

This is so useful! Thank you, thank you very much!

OMG! I impressed to read it. Really, you are doing good job.

Very informative thanks!

I need something different for pleading. and it’s not on the list. Why is the emotion I want not almost never on the lists? xP (Arg)

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Tricks for Describing a Character’s Appearance (With Examples)

Introducing a new character to your story can be difficult. There’s a lot that goes into it, and to make matters worse, you only have one chance to give readers a good (and memorable) first impression of that character. One of the ways you can do this is by giving them a distinct appearance, but many writers tend to fall short of describing appearance well. 

We’ve all heard the same cookie-cutter descriptions for characters a million times before. Golden hair, a heart-shaped face, a chiseled body, piercing eyes, yadda yadda… The problem with these descriptions is that they’re bland, they’re cliché, and they don’t really help your characters stand out. 

However, if you break from clichés, you can create uniquely vivid descriptions that will give your characters life. There are endless ways you can describe characters, and I’m not going to walk you through how I would describe every single possible human feature (or humanoid, animal, alien, etc). For one thing, that would take too long, but for another thing, descriptions are based on more than just the character’s physical appearance—their personality plays a part too. 

Tips for Describing a Character’s Appearance in a Story

There are a number of things to keep in mind when describing a character’s appearance. Here are just a few general tips before we dive into some more specific techniques for describing different parts of a character’s appearance. 

Don’t Make Everyone a Supermodel

This is probably one of the most (if not the most) important things to remember when describing a character. You should never objectively describe your characters as flawless. Humans aren’t perfect, so if you describe your characters like perfect little supermodels, they just won’t feel authentic. Worse still, they won’t stand out from the protagonists of every single young adult novel out there. You need to make them distinct, and to do that, you need to give your characters flaws . And I mean real flaws, not fake flaws that are actually just endearing traits packaged like flaws. 

Don’t Dump Everything Out at Once

Describing your characters is important, but you need to be able to keep it concise. No one wants to read a 7-page summary of every detail of a character’s appearance. You can go in-depth, sure, but don’t put your readers through a word-avalanche just for them to figure out what the character looks like. 

Remember, you can reveal more about the characters over time. When you introduce a character for the first time, you should focus on the things a person would naturally notice first, such as their face, hair, clothing, voice, and general energy. You can further elaborate on their appearance later when it is relevant, and describe their gait, posture, temperament, and more. 

There is one exception here I want to highlight. If you are telling a story from the first-person perspective, and you want to illustrate a character’s obsession with another person, hyper-fixating on the details can be a good way to show this. It can make the character seem creepy , and it can foreshadow the protagonist doing something bad to the person they are obsessing over. 

Don’t Sell Them Short

Opposite to the point above, you shouldn’t make your introductions too short. To some extent, it can be good to leave some parts of the character’s appearance up to the reader’s imagination. However, you should give them something to help them visualize the characters in the beginning. Otherwise, if you later reveal that the character has dark hair, all the readers that imagined them with light hair might have a difficult time accepting that. 

Descriptions are important, and they help to include a reader in the narrative. Like a well-described setting, vivid characters can help immerse readers into the world and make them part of the story. 

Use Their Personality

A character’s personality can have a large impact on how they are perceived, and therefore should alter the words you use to describe them. Two characters might have similar features, but based on their personality, you would describe them differently. 

For example, two characters might both be tall, but one would be described as “awkward and long” while the other is “towering.” In this case, the characters’ levels of confidence impact how they are perceived. For another example, think about two characters who both have light skin. You could describe one as looking like “porcelain” and describe the other one as “pasty,” depending on their other traits. Those two descriptions create very different perceptions from each other.   

Use the Point of View

If the character in question is being described from the first-person perspective of another character, then the protagonist’s opinions should sneak into the description. Your protagonist probably isn’t going to objectively evaluate the other person—they’re likely to rely on stereotypes, biases, and things they have heard from others about the character they’re looking at. Rely on that to make the description fit into the story more organically. 

Here are some examples: 

• She had no right to have such a disarming smile.
• His expression was empty—just like his head.
• His dark, tangled hair reminded me of a swamp.
• She didn’t even wear any makeup! But even more frustratingly, she didn’t really need it.
• They looked divine… like I wasn’t even worthy to look upon them. 
• He looked like the type of person to stare at his own reflection before getting in the shower. 
• They were short and stocky, but they could still probably beat me in a fight. 

Remember, your protagonist can make speculative judgments about the character they’re looking at. You’re telling the story as they experience it, so their judgments are part of the narrative!

“…he was greeted by the barista—a young teen who had not yet matured enough to be handsome. Once his soft cheeks hollowed and his jaw squared, and the childish optimism fled his eyes, then he would have the chance to smolder. That crooked smile would win over many hearts in the blink of an eye, but not just yet.”  – excerpt from a draft

Keep the Description Balanced

A good rule of thumb when describing characters (or anything else really) is to create a balance of concrete details and flowery imagery. You should alternate between those two, as well as general and more specific details, to make the description flow more naturally, and to make it more interesting to read. 

Imagine reading a description like: 

“His hair was red and curly. His eyes were large and green. He had freckles, but they weren’t that noticeable. He was tall but very thin.” 

That’s so dry, and it’s not fun to read. Compare that to a description that varies how the information is provided:

“His hair was like a massive red bush surrounding two wide, green eyes. Freckles faintly dotted his cheeks, but they were only really visible in the sunshine. His long, lanky body and large hair made him look a bit like a big red lollipop—which was only heightened by his tendency to blush often.”

Wasn’t that a lot more fun to read? Not only does it make the character description more interesting, but it also influences a reader’s perception of what the character is like. Certain words help readers to gauge what kind of person this character is. The first example gives no indication of personality, but the second one uses words like “sunshine” and “lollipop” to associate the character with lively, happy things. Additionally, using words like “lanky” and “blush” suggests that the character is awkward or shy, saving you the time of having to spell that out for readers. 

Give them Something Special

One helpful thing that I’ve learned over the years is that you should give your main character some distinctive feature that sets them apart from the other characters around them. Diverse descriptions are great, but it never hurts to make your main character a little more unique. This could be something like a distinctive scar, a tattoo, a weird eye color, a patch of silver or white hair, a missing or extra finger, a birthmark, or something else along those lines. That can make them stand out more, and it can be a really clear indicator that they are special. 

Although your story won’t suffer if you don’t give your main character a distinct feature like this, it is usually a good bet—especially if you think your story could ever conceivably be adapted into a visual medium, like a comic, animation, or film. That character could become iconic. People may just see your character somewhere and that alone could motivate them to read or watch the whole story. As another plus, it could give you a cool opportunity for your story’s cover. 

How to Describe a Character’s Face

When describing a character’s face, the easiest way to do that is to first break the face down into its essential parts: the eyes, the mouth, the nose, and the facial structure.

So let’s start with the eyes since they are the focal point of the face. Stay away from the descriptions you’ve heard a million times, like “piercing” or “doe-eyed.” The eyes are the window to the soul, and they can tell a reader a lot about a character. Instead of “piercing,” try “icy” or “sharp,” and instead of “doe-eyed,” try “wide,” “innocent,” or “full of wonder/awe.” The goal is to describe the character in a unique way to make it more interesting to read, while still creating a vivid image of that character. 

You can describe the shape, color, and depth of a character’s eyes, but you should be careful not to rely on insensitive generalizations. For example, instead of “Asian” eyes, use “almond-shaped” or “mono-lid.” Not all Asian people have mono-lids, so simply using the word “Asian” to describe the character’s eyes doesn’t actually narrow down what they look like. 

That goes for all the other features of the face, too. Though it is true that some features are more prominent in certain races, nothing is inherent. You shouldn’t rely on the character’s race or ethnic background alone to be the basis of your description. Saying that a character is Japanese or Jamaican without giving other details doesn’t do any more for the character’s description than saying they are European or white. Doing this only encourages your readers to stereotype your characters, even if that wasn’t your intention. 

With that said, don’t get too caught up in describing every detail of a character’s face. Give the most important information, such as the eyes, face shape, scars, and other notable details or imperfections, then move on. If a character has an exaggerated feature, such as a large nose or bushy eyebrows, then that’s important to mention too.

How to Describe a Character’s Hair

There are lots of different types of hair colors, textures, thicknesses, and shines, so try not to make all your characters have the same kind of hair—unless they’re related or part of a small, isolated community, of course. Hair can be curly and blond, sleek and black, coily and auburn, and even dyed wild colors. Making your characters’ hair more distinct will make them easier for readers to visualize, especially if you introduce many characters at one time. 

Beyond the basics, you can use words to describe a character’s hair that reflects who they are as a person. For example, describing a character’s hair as springy or bouncy could indicate the character is upbeat and moves excitedly. Slick, greasy, or wispy hair could suggest an untrustworthy or sneaky character. The words you use to describe the character’s hair will be subliminally applied to the character themself. 

How to Describe a Character’s Clothes

Clothing is an important element of self-expression, and what your character decides to wear can reflect a lot about them. However, unlike with the character’s face, you should not spend a lot of time describing their outfit. For one thing, they’re probably going to change their outfit at some point in the story—likely more than once. Secondly, readers just won’t care unless you give them a good reason to. 

If you want to describe what your character is wearing, make sure to keep it short. If it’s just a simple way of helping the reader visualize the character’s style, present the information objectively and in only a paragraph or two, such as: 

“She wore short-shorts and a denim jacket, and pink thigh-high socks that she had to keep pulling up because they always slipped down to her knees. Her tennis-shoes were white and bulky, as was the belt bag she wore off to one side. This free, laidback style was completed by the two messy buns her faded purple hair was pulled up into.”

However, there are a few times in which you can use clothing to explore more complex ideas in the story. For example:

• An article of clothing might have special significance to a character. It could have been handed down from a relative, it could be a favorite shirt, or it could be meaningful in other ways. That would merit drawing more attention to it. 
• An article of clothing might have special significance to the story. This could be a type of ceremonial outfit, a piece of magical armor, or something along those lines. That would require a more thorough in-depth description of the item. 
• An article of clothing may be unfamiliar to most of your readers, such as a specific cultural outfit or an unusual costume, in which case a descriptive explanation could help illustrate what it looks like. 
• A particular outfit could draw attention to a character, such as an attractive or surprising outfit, that could merit taking more time to describe it (and explain why it garners the character extra attention). 

How to Describe a Character’s Body

Describing a character’s body is fairly straightforward. Like with many other aspects of a character’s appearance, there are a few methods you can use to approach describing their body. You could take the objective approach, which would do just fine in most cases, or you could toy with your readers’ perceptions. 

I’ll start out with a word of caution. Too many times, I’ve seen unrealistic descriptions of characters’ bodies. Whether it’s a waist that’s impossibly thin or muscles like a bodybuilder on a teenager, people tend to push the boundaries of what the human body is even capable of. You need to keep your characters within the limits of what’s actually possible, unless you have a good reason for doing otherwise (genetically modified supersoldier, not actually human at all, etc). 

Now, as with some other aspects of the character’s appearance, you can get away with a simple, objective description, like “tall and muscular” or “short and curvy.” Honestly, that’s usually all you’ll need to do. However, bodies are commonly associated with physical attractiveness, and if attraction is the point of your description, you need to take a different approach. 

Writing about attraction is tough (which is why I go more in-depth about how to write about attraction in my other article, Romance 101: How to Write Characters Falling in Love ). You’ll want to highlight the positives of the character’s body—the elements of them that have caught your protagonist’s attention. Whether it’s biceps, legs, or a large chest, you’ll want to describe it in detail, as well as highlight what it is about them that has the protagonist so interested. Here’s an example:

“He was tall and sturdy, and even in this relaxed environment, his pose held power. The way his shirt stretched taut around his shoulders when he shifted snagged and held my attention—I couldn’t help but stare. Did he pick that shirt on purpose? He had to know the thin fabric clung close to his body, showing off every rippling muscle underneath…” 

How to Describe a Character’s Posture and Body Language

Body language is an often overlooked element of describing a character, but you should give it some thought even if you don’t intend to draw a lot of attention to it in the story. How does your character stand? How do they emote? Do they gesture when they speak? Do they fidget? Try to envision what they look like when they are waiting, actively engaged in a passionate conversation, and when they are uncomfortable. 

People move in different ways, even if they aren’t thinking about it. Come up with a list of movements and behaviors that are typical for the character, and utilize those movements to make dull scenes and conversations more interesting. Instead of just dialogue, you can give readers more to imagine as your character shifts their weight, runs their hand through their hair, or twists the hem of their shirt. This can also help to establish the tone of the conversation.  

A person’s body, personality, and mood will all influence how they move. If you establish a baseline for how the character stands and behaves when they are in a neutral mindset, this will help you keep them consistent over time by casually mentioning their body language throughout the story. As a bonus, it can also help you tip readers off if you want them to notice that something is bothering the character. If you have established that a character is pretty relaxed in most situations, readers will instantly notice if they exhibit anxious body language even if you don’t draw a lot of attention to it. 

How to Describe an Attractive Character

Describing an attractive character isn’t all that different from describing any other character. You still shouldn’t make them flawless, but you can put off mentioning their more negative qualities until later—especially if another character is looking at them through rose-colored glasses . 

One recommendation that I have for describing a character who is supposed to be extremely attractive is to keep their description vague. Beauty is subjective, so each reader is going to have a different idea of what “attractive” means. By all means, describe the basics of their appearance, such as hair color, eye color, skin tone, and whatnot, but don’t dive deep into the shape of their features. This will leave a little bit up to the reader’s imagination, and they will fill in the gaps in the character’s description with the traits that they find most attractive. 

Another helpful tip is to utilize the reactions of background characters to establish that the character is, in fact, attractive. Other people staring at the character or nudging and whispering to each other about them would help your reader understand that the character is good-looking, and alter their mental image of them accordingly. 

The Importance of Creating Vivid Visual Descriptions for your Characters

Creating vivid visual descriptions for your characters is incredibly important for a number of reasons. For one thing, being able to imagine the characters will help draw your readers into the story and immerse them in the world. Additionally, by giving your characters more distinct appearances, they will stand out more from each other, and from characters in other stories. The more complex and interesting the character, the more likely they are to stick in a reader’s mind for years after they finish reading the story. 

Good luck with writing your descriptions! I know you’ll write something great.

30+ Words to Describe Different Body Shapes and Sizes

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Vocabulary Boosters

When describing characters, it isn’t enough to call them “tall” or “short”, or even “fat” or “slim”. It requires specific words to describe body shape to paint an image of the character in your readers’ heads.

Surely the character’s body shape is more than just a generalized term. You may even have two “fat” characters, but using the same words to describe them wouldn’t do much justice when one is stumpy, and the other is tall and paunchy.

Once you have conjured up the character in your head, you need to pay close attention to these words to describe their body shape and pick the most suitable ones:

7 words to describe a muscular/athletic body shape

  Not all muscular/athletic body types are the same. Sure, they all fall into the same category, but using more specific words to describe body shape paints an even clearer image of what you envision a character to be.   Here are 7 words to describe body shape for muscular/athletic characters:  

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30 of the Best Words to Describe a Good Athlete

7 words to describe a sexy body

  There are different understandings of what it means to be sexy, so you have to be more specific when writing about this body type.   For some, sexy means a person with large breasts and buttocks, while others find smaller features more attractive.   Take a look at these words to describe body shape for sexy characters, then take your pick:  

7 words to describe a fat body shape

  Now, let’s move on to characters one can generalize as “fat”.   Here are 8 words to describe body shape for the different versions of fat:  

20+ of the Nicest and Most Positive Words to Describe Elderly

8 slim body shapes

  Just as there are different versions of a fat body, there are different versions of slim body shapes. Use any of these words to describe body shapes of slim characters to paint a more accurate picture:  

25+ of the Best Words to Describe Fireworks in Writing

5 words to describe body shape when talking about body sizes

  You may also use words to describe body shape based on a character’s size. This will help to put things into perspective for your readers and makes your choice of words more effective.   Here are 5 words to describe body shape when talking about the character’s size:  

  And there you have it! 30+ of the best words to describe body shape for virtually any character you can think of.   Now, you can work on developing other elements of your story to complete a spectacular piece. Good luck!  

Body language master list for writers

“Show, don’t tell” is the first lesson of Fiction Writing 101, and one of the easiest and quickest fixes is to replace the emotional adverbs and adjectives with some body language.

For example, instead of “He said, sadly,” you could write, “He said with tears welling in his eyes.” Or, for a deep point of view, skip the “he said” and just write “Tears welled in his eyes” instead of a dialogue tag.

I don’t know about you, but sometimes when writing I get stumped. What body language goes, with, say, exasperation? So I Google it and spend half an hour going down a research rabbit hole. So I started assembling a cheat sheet I could refer to quickly, without getting distracted.

This is that cheat sheet.

Shaking fist Pointing finger Stabbing with finger Slamming fist on table Face flushed Veins throbbing in neck Jutting chin Clenched fist Clenched jaw Eyebrows lowered Eyes squinted Teeth bared Wide stance Tight-lipped smile Invading personal space Touching or rattling someone’s belongings or drink Rapid breathing Sweating Unwanted touching or flicking Moving one leg back into a fighting stance Invading personal space Flared nostrils Puffed chest Lowered, gravelly voice Insulting gestures Mock attacks Sudden movements Wide, exaggerated gestures Pursed lips Red face Slamming or punching things

Anticipation

Rubbing hands together Licking lips Unable to sit still Grinning

Throwing head back Slapping thighs Clapping hands Shaking with laughter Shaking head with a grin

Shaking fist Pointing finger Stabbing with finger Slamming fist on table Face flushed Veins throbbing in neck Jutting chin Clenched fist Clenched jaw Eyebrows lowered Eyes squinted Teeth bared Wide stance Tight lips Flared nose

Lips pressed together Eyes narrowed Rolling eyes Exasperated sigh

Fidgeting Twisting a ring Chewing on a pencil Biting lip Swallowing Quickened breathing Holding breath Eyes darting Sweating Clammy hands High-pitched laughter Hunched posture Pacing Stuttering Playing with hair

Attentiveness

Furrowed brow Leaning forward Sitting up Taking notes Mimicking body language

Jaw dropped Frozen in place Fixed gaze

Yawning Avoiding eye contact Tapping feet Twirling pen Doodling Fidgeting Slouching

Clasping arms behind body Lifting head Chest pushed out Standing tall Making firm and precise movements

Head tilted Narrowed eyes Furrowed brow Shrugging

Lifted chin Pursed lips Sneering Stretching Turning away Waving hand dismissively

Lips twisted Half-smile Shaking head Lips pressed together into a slight frown Rolling eyes

One-sided shoulder shrug Looking down Scratching nose, ear, or neck Feet kicking out Shuffling feet Sudden change in demeanor Hesitation in speech Shifting eye contact Long blinks Shrugging Inappropriate smiling or laughter Shaking head “no” while saying “yes” Licking lips Covering or touching mouth

Defensiveness

Crossing arms or legs Placing something in front of body Hands in pockets Holding hands palms up

Winking Looking up through eyelashes Glancing over shoulder Making eye contact Touching hair Touching clothing Straight back Thumbs in belt loops or pockets Dilated pupils Arching Stretching Women crossing and uncrossing legs

Eyes open wide Eyes narrowed Twisted mouth Crinkling nose Creased brow

Crinkling nose Curled lip Flinching Turning away Covering nose Gagging Eyes squinted shut

Displeasure

Fake smile Pouting Frowning Crossing arms

Rubbing neck Wide eyes Rapid breathing Hitting a wall Huddling in a corner Clasping hands over head Rocking Wringing hands Running hands through hair Adjusting cuffs Men holding hands in front of crotch

Chin up Chest out Shoulder back Hard handshake Leaning back with hands behind head and feet up Steady eye contact Hands on hips Straddling chair

Leaning forward Nodding Wide eyes Steady eye contact with raised eyebrows Hand on heart Double-handed handshake Feet pointed inwards

Embarrassment

Blushing Stammering Covering face with hands Bowing head Looking away Looking down Blinking back tears

Rubbing eyes Staring into space Yawning Stretching Nodding off and jerking awake Gritting teeth Closing eyes Moving slowly Slouching

Delayed reactions

Sweating Shaking Eyebrows raised and pulled together Wide eyes Mouth slightly open

Curling into fetal position Contorting face Slumping Covering face or head with hands, arms, or pillow Staring Shaking Sobbing Trembling Turning away Difficulty swallowing Drooping eyelids

Smiling Laughing Humming Crinkling eyes and nose Swinging arms Spinning Dancing Jumping Hugging Giggling

Shaking fists, hands twisted into claws Bared teeth Throbbing vein in neck Sweating, red face, tightness in skin of face Flared nostrils Scathing tone Shouting or screaming Turning away or leaving when the other person arrives, changing plans to avoid them

Maintaining eye contact Smiling with whole face Looking up Palms up Open arms

Nodding quickly Tapping fingers Sighing Checking the time Tapping feet Increasing voice pitch Looking away

Tight lips Sour expression Narrow eyes Crossed arms

Physical closeness to someone, leaning against each other, sitting together so legs touch Obsessively checking for messages, constant texting Doodling love interest’s name with a heart Improving appearance, dying hair, exercising more Affectionate touches, playful shoving Smiling at nothing, beaming, silly grid Using pet names, terms of endearment Listening to love songs

Overwhelmed

Palms to forehead Splayed fingers over eyes Staring into space with wide eyes Gripping something

Playfulness

Winking Waggling eyebrows Nudging Smiling Tickling

Head tilted back Slightly parting lips Eyes wide Eyes closed Slow, languorous movements Stretching Arching back Flushing Rapid breathing Fast pulse

Possessiveness

Handshake with arm clasp Hands around shoulders, neck, or waist Placing hands on a wall around someone Standing in their personal space angled towards them Running a knuckle down someone’s cheek Staring at people if they get too close

Shaky laughter Letting out a huge breath Looking up in silent prayer Raising hand for a high five

More at Writers Helping Writers and even more here by Kathy Steinemann .

Arms crossed Hands in fists Dragging feet Pinching nose Hands over ears

Droopy body Bowed body Wrapping arms around yourself Hesitating movements Bottom lip jutting out Quivering lip Crying Sobbing Shaking Dragging feet

Secretiveness

Tight-lipped smile Hands in pockets Looking away Covering face Looking down

Slumped shoulders Looking down and away Burying face in hands Bowed head Straight mouth

Hands over mouth Mouth open Gasping Freezing Staring with wide eyes Raised eyebrows Smacking palm against forehead Stepping back

Blushing Avoiding eye contact Keeping distance from others Backing away if others come too close Arms folded Head bent Hugging the walls

Slight close-lipped smile One raised eyebrow Slightly tucked chin Enigmatic smile Raised eyebrows Steepled fingers

Wide eyes Wrinkled forehead Slack or open jaw

Narrow eyes Glancing sideways Raised eyebrow Rubbing eyes Shaking head Blowing out cheeks Frowning Tightening lips

Thoughtfulness

Steepled fingers Pinching nose Closed eyes Tugging on ear Stroking beard Stroking chin Furrowing brow Narrow eyes Tilted head Lips pressed together Chin resting on hand Leaning back and looking up

Threatening

Shaking fist Pointing finger Stabbing with finger Slamming fist on table Face flushed Veins throbbing in neck Jutting chin Clenched fist Clenched jaw Eyebrows lowered Eyes squinted Teeth bared Wide stance Tight-lipped smile Invading personal space Rapid breathing Sweating Unwanted touching or flicking Moving one leg back into a fighting stance Invading personal space Flared nostrils Puffed chest Touching or rattling someone’s belongings or drink

Holding hands together above head Tilting back head and yelling Pumping fist in air Jumping Roaring Whooping

Other Resources

A couple of years ago, I bought a copy of a book titled The Emotion Thesaurus: A Writer’s Guide to Character Expression , part of the Writers Helping Writers series.

I would still prefer a print version, though, to keep it on my physical bookshelf for easier and faster access.

Another book that covers some of the same ground is The Writer’s Lexicon: Descriptions, Overused Words, and Taboos  by Kathy Steinemann.

Do you have any other suggestions for how to convey emotion through action or body language? Let me know in the comments and I’ll add it to the list!

And if you want more writing advice, I do a weekly round-up of the best writing advice articles from all around the web . Check it out!

Edited by Charles Hand

Maria Korolov

MetaStellar editor and publisher Maria Korolov is a science fiction novelist , writing stories set in a future virtual world. And, during the day, she is an award-winning freelance technology journalist who covers artificial intelligence, cybersecurity and enterprise virtual reality . See her Amazon author page here and follow her on Twitter , Facebook , or LinkedIn , and check out her latest videos on the Maria Korolov YouTube channel . Email her at [email protected] . She is also the editor and publisher of Hypergrid Business , one of the top global sites covering virtual reality.

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4 thoughts on “Body language master list for writers”

This is a great list. Thank you for sharing this. I did notice one type of emotion that could be helpful to have.

What would be some good options for a serious character? It becomes a bit repetitive to say that the characters are serious, especially if readers would already know this from what is being discussed.

I have thought of locking eyes, a narrowing of the eyes, leaning forwards and taking a deeper breath. Would there be any others you would recommend?

Depends on what you mean by serious. If you mean thoughtful, then you’ve got all the actions that does someone is thinking — taking off their glasses, looking up, furrowed brow, frowning, adding things up on their fingers, making notes, etc.. If you mean serious as opposed to playful, there’s frowning again, tapping your foot, etc… But if you want to show that someone is a serious person, just have them do hard things effectively.

This is wonderful, thank you!

Thank you for sharing this!! There are so many facial gestures and/or expressions I don’t know how to describe…this is awesome! Thank you!

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Describing Sadness in Creative Writing: 33 Ways to Capture the Blues

By: Author Paul Jenkins

Posted on August 25, 2023

Categories Creative Writing , Writing

Describing sadness in creative writing can be a challenging task for any writer.

Sadness is an emotion that can be felt in different ways, and it’s important to be able to convey it in a way that is authentic and relatable to readers. Whether you’re writing a novel, short story, or even a poem, the ability to describe sadness can make or break a story.

Understanding sadness in writing is essential to creating a believable character or scene. Sadness is a complex emotion that can be caused by a variety of factors, such as loss, disappointment, or loneliness. It’s important to consider the context in which the sadness is occurring, as this can influence the way it is expressed.

By exploring the emotional spectrum of characters and the physical manifestations of sadness, writers can create a more authentic portrayal of the emotion.

In this article, we will explore the different ways to describe sadness in creative writing. We will discuss the emotional spectrum of characters, the physical manifestations of sadness, and the language and dialogue used to express it. We’ll also look at expert views on emotion and provide unique examples of describing sadness.

By the end of this article, you’ll have a better understanding of how to authentically convey sadness in your writing.

Key Takeaways

• Understanding the emotional spectrum of characters is essential to creating a believable portrayal of sadness.
• Physical manifestations of sadness can be used to convey the emotion in a more authentic way.
• Authenticity in describing sadness can be achieved through language and dialogue, as well as expert views on emotion.

33 Ways to Express Sadness in Creative Writing

Let’s start with some concrete examples of sadness metaphors and similes:

Here are 33 ways to express sadness in creative writing:

• A heavy sigh escaped her lips as a tear rolled down her cheek.
• His eyes glistened with unleashed tears that he quickly blinked away.
• Her heart felt like it was being squeezed by a cold, metal fist.
• A profound emptiness opened up inside him, threatening to swallow him whole.
• An avalanche of sorrow crashed over her without warning.
• His spirit sank like a stone in water.
• A dark cloud of grief descended on her.
• Waves of sadness washed over him, pulling him under.
• She felt like she was drowning in an ocean of melancholy.
• His eyes darkened with sadness like a gathering storm.
• Grief enveloped her like a wet blanket, heavy and smothering.
• The light in his eyes dimmed to a flicker behind tears.
• Sadness seeped through her veins like icy slush.
• The corners of his mouth drooped like a wilting flower.
• Her breath came in short, ragged gasps between sobs.
• A profound melancholy oozed from his pores.
• The weight of despair crushed her like a vice.
• A haunted, hollow look glazed over his eyes.
• An invisible hand squeezed her heart, wringing out all joy.
• His soul curdled like spoiled milk.
• A silent scream lodged in her throat.
• He was consumed by a fathomless gloom.
• Sorrow pulsed through her veins with every beat of her heart.
• Grief blanketed him like new-fallen snow, numbing and icy.
• Tears stung her eyes like shards of glass.
• A cold, dark abyss of sadness swallowed him.
• Melancholy seeped from her like rain from a leaky roof.
• His spirit shriveled and sank like a deflating balloon.
• A sick, hollow ache blossomed inside her.
• Rivulets of anguish trickled down his cheeks.
• Sadness smothered her like a poisonous fog.
• Gloom settled on his shoulders like a black shroud.
• Her sorrow poured out in a river of tears.

Understanding Sadness in Writing

Describing sadness in writing can be a challenging task.

Sadness is a complex emotion that can manifest in different ways. It can be expressed through tears, sighs, silence, or even a simple change in posture. As a writer, you need to be able to convey sadness effectively to your readers, while also avoiding cliches and melodrama.

One way to approach describing sadness is to focus on the physical sensations and reactions that accompany it. For example, you might describe the feeling of a lump in your throat, or the tightness in your chest. You could also describe the way your eyes become watery, or the way your hands tremble.

These physical descriptions can help your readers to empathize with your characters and feel the same emotions.

Another important aspect of describing sadness is the tone of your writing. You want to strike a balance between conveying the depth of the emotion and avoiding excessive sentimentality.

One way to achieve this is to use simple, direct language that conveys the emotion without resorting to flowery language or overwrought metaphors.

When describing sadness, it’s also important to consider the context in which it occurs. Sadness can be a response to many different situations, such as loss, disappointment, or rejection. It can also be accompanied by other emotions, such as anger, confusion, or melancholy.

By considering the context and accompanying emotions, you can create a more nuanced and realistic portrayal of sadness in your writing.

Finally, it can be helpful to draw on examples of how other writers have successfully described sadness. By studying the techniques and descriptions used by other writers, you can gain a better understanding of how to effectively convey sadness in your own writing.

In conclusion, describing sadness in writing requires a careful balance of physical descriptions, tone, context, and examples. By focusing on these elements, you can create a more nuanced and effective portrayal of this complex emotion.

Emotional Spectrum in Characters

In creative writing, it’s important to create characters that are multi-dimensional and have a wide range of emotions. When it comes to describing sadness, it’s essential to understand the emotional spectrum of characters and how they respond to different situations.

Characters can experience a variety of emotions, including love, happiness, surprise, anger, fear, nervousness, and more.

Each character has a unique personality that influences their emotional responses. For example, a protagonist might respond to sadness with a broken heart, dismay, or feeling desolate.

On the other hand, a character might respond with anger, contempt, or apathy.

When describing sadness, it’s important to consider the emotional response of the character. For example, a haunted character might respond to sadness with exhaustion or a sense of being drained. A crestfallen character might respond with a sense of defeat or disappointment.

It’s also important to consider how sadness affects the character’s personality. Some characters might become withdrawn or depressed, while others might become more emotional or volatile. When describing sadness, it’s important to show how it affects the character’s behavior and interactions with others.

Overall, the emotional spectrum of characters is an important aspect of creative writing. By understanding how characters respond to different emotions, you can create more realistic and relatable characters. When describing sadness, it’s important to consider the character’s emotional response, personality, and behavior.

Physical Manifestations of Sadness

When you’re feeling sad, it’s not just an emotion that you experience mentally. It can also manifest physically. Here are some physical manifestations of sadness that you can use in your creative writing to make your characters more believable.

Tears are one of the most common physical manifestations of sadness. When you’re feeling sad, your eyes may start to water, and tears may fall down your cheeks. Tears can be used to show that a character is feeling overwhelmed with emotion.

Crying is another physical manifestation of sadness. When you’re feeling sad, you may cry. Crying can be used to show that a character is feeling deeply hurt or upset.

Numbness is a physical sensation that can accompany sadness. When you’re feeling sad, you may feel emotionally numb. This can be used to show that a character is feeling disconnected from their emotions.

Facial Expressions

Facial expressions can also be used to show sadness. When you’re feeling sad, your face may droop, and your eyes may look downcast. This can be used to show that a character is feeling down or depressed.

Gestures can also be used to show sadness. When you’re feeling sad, you may slump your shoulders or hang your head. This can be used to show that a character is feeling defeated or hopeless.

Body Language

Body language can also be used to show sadness. When you’re feeling sad, you may cross your arms or hunch over. This can be used to show that a character is feeling closed off or defensive.

Cold and Heat

Sadness can also affect your body temperature. When you’re feeling sad, you may feel cold or hot. This can be used to show that a character is feeling uncomfortable or out of place.

Sobbing is another physical manifestation of sadness. When you’re feeling sad, you may sob uncontrollably. This can be used to show that a character is feeling overwhelmed with emotion.

Sweating is another physical manifestation of sadness. When you’re feeling sad, you may sweat profusely. This can be used to show that a character is feeling anxious or nervous.

By using these physical manifestations of sadness in your writing, you can make your characters more realistic and relatable. Remember to use them sparingly and only when they are relevant to the story.

Authenticity in Describing Sadness

When it comes to describing sadness in creative writing, authenticity is key. Readers can tell when an author is not being genuine, and it can make the story feel less impactful. In order to authentically describe sadness, it’s important to tap into your own emotions and experiences.

Think about a time when you felt truly sad. What did it feel like? What physical sensations did you experience? How did your thoughts and emotions change? By tapping into your own experiences, you can better convey the emotions of your characters.

It’s also important to remember that sadness can manifest in different ways for different people. Some people may cry, while others may become withdrawn or angry. By understanding the unique ways that sadness can present itself, you can create more authentic and realistic characters.

If you’re struggling to authentically describe sadness, consider talking to a loved one or best friend about their experiences. Hearing firsthand accounts can help you better understand the nuances of the emotion.

Ultimately, the key to authentically describing sadness is to approach it with empathy and understanding. By putting yourself in the shoes of your characters and readers, you can create a powerful and impactful story that resonates with your audience.

Language and Dialogue in Expressing Sadness

When writing about sadness, the language you use can make a big difference in how your readers will perceive the emotions of your characters.

Consider using metaphors and similes to create vivid images that will help your readers connect with the emotions of your characters.

For example, you might describe the sadness as a heavy weight on the character’s chest or a dark cloud hanging over their head.

In addition to using metaphors, you can also use adjectives to describe the character’s emotions. Be careful not to overuse adjectives, as this can detract from the impact of your writing. Instead, choose a few powerful adjectives that will help your readers understand the depth of the character’s sadness.

For example, you might describe the sadness as overwhelming, suffocating, or unbearable.

When it comes to dialogue, it’s important to remember that people don’t always express their emotions directly. In fact, sometimes what isn’t said is just as important as what is said.

Consider using subtext to convey the character’s sadness indirectly. For example, a character might say “I’m fine,” when in reality they are struggling with intense sadness.

Another way to use dialogue to convey sadness is through the use of behaviors. For example, a character might withdraw from social situations, stop eating or sleeping properly, or engage in self-destructive behaviors as a result of their sadness.

By showing these behaviors, you can help your readers understand the depth of the character’s emotions.

Finally, when describing sadness, it’s important to consider the overall mood of the scene. Use sensory details to create a somber atmosphere that will help your readers connect with the emotions of your characters.

For example, you might describe the rain falling heavily outside, the silence of an empty room, or the dim lighting of a funeral home.

Overall, when writing about sadness, it’s important to choose your words carefully and use a variety of techniques to convey the depth of your character’s emotions.

By using metaphors, adjectives, dialogue, behaviors, and sensory details, you can create a powerful and emotionally resonant story that will stay with your readers long after they’ve finished reading.

Expert Views on Emotion

When it comes to writing about emotions, it’s important to have a deep understanding of how they work and how they can be conveyed effectively through writing. Here are some expert views on emotion that can help you write about sadness in a more effective and engaging way.

Dr. Paul Ekman

Dr. Paul Ekman is a renowned psychologist who has spent decades studying emotions and their expressions. According to Dr. Ekman, there are six basic emotions that are universally recognized across cultures: happiness, sadness, anger, fear, surprise, and disgust.

When it comes to writing about sadness, Dr. Ekman suggests focusing on the physical sensations that accompany the emotion.

For example, you might describe the heaviness in your chest, the lump in your throat, or the tears that well up in your eyes. By focusing on these physical sensations, you can help your readers connect with the emotion on a deeper level.

While sadness is often seen as a “negative” emotion, it’s important to remember that all emotions have their place in creative writing. Disgust, for example, can be a powerful tool for conveying a character’s revulsion or aversion to something.

When writing about disgust, it’s important to be specific about what is causing the emotion. For example, you might describe the smell of rotting garbage, the sight of maggots wriggling in a pile of food, or the texture of slimy, raw meat.

By being specific, you can help your readers feel the full force of the emotion and understand why your character is feeling it.

Overall, when it comes to writing about emotions, it’s important to be both specific and authentic. By drawing on your own experiences and using concrete details to describe the physical sensations and causes of emotions, you can create a more engaging and emotionally resonant piece of writing.

Unique Examples of Describing Sadness

When it comes to describing sadness in creative writing, there are many unique ways to convey this emotion to your readers. Here are some examples that can help you create a powerful and moving scene:

• The crying scene : One of the most common ways to show sadness is through tears. However, instead of just saying “she cried,” try to describe the crying scene in detail. For instance, you could describe how her tears fell like raindrops on the floor, or how her sobs shook her body like a violent storm. This will help your readers visualize the scene and feel the character’s pain.
• The socks : Another way to show sadness is through symbolism. For example, you could describe how the character is wearing mismatched socks, which represents how her life is falling apart and nothing seems to fit together anymore. This can be a subtle yet effective way to convey sadness without being too obvious.
• John : If your character is named John, you can use his name to create a sense of melancholy. For example, you could describe how the raindrops fell on John’s shoulders, weighing him down like the burdens of his life. This can be a creative way to convey sadness while also adding depth to your character.

Remember, when describing sadness in creative writing, it’s important to be specific and use vivid language. This will help your readers connect with your character on a deeper level and feel their pain.

Frequently Asked Questions

What are some effective ways to describe a person’s sadness without using the word ‘sad’.

When describing sadness, it’s important to avoid using the word “sad” as it can come across as cliché and lackluster. Instead, try using more descriptive words that evoke a sense of sadness in the reader. For example, you could use words like “heartbroken,” “bereft,” “devastated,” “despondent,” or “forlorn.” These words help to create a more vivid and emotional description of sadness that readers can connect with.

How can you describe the physical manifestations of sadness on a person’s face?

When describing the physical manifestations of sadness on a person’s face, it’s important to pay attention to the small details. For example, you could describe the way their eyes become red and swollen from crying, or how their mouth trembles as they try to hold back tears. You could also describe the way their shoulders slump or how they withdraw into themselves. By focusing on these small but telling details, you can create a more realistic and relatable portrayal of sadness.

What are some examples of using metaphor and simile to convey sadness in creative writing?

Metaphors and similes can be powerful tools for conveying sadness in creative writing. For example, you could compare a person’s sadness to a heavy weight that they’re carrying on their shoulders, or to a storm cloud that follows them wherever they go. You could also use metaphors and similes to describe the way sadness feels, such as a “gnawing ache” in the pit of their stomach or a “cold, empty void” inside their chest.

How can you effectively convey the emotional weight of sadness through dialogue?

When writing dialogue for a character who is experiencing sadness, it’s important to focus on the emotions and feelings that they’re experiencing. Use short, simple sentences to convey the character’s sadness, and avoid using overly complex language or metaphors. You could also use pauses and silences to create a sense of emotional weight and tension in the scene.

What are some techniques for describing a character’s inner sadness in a way that is relatable to the reader?

One effective technique for describing a character’s inner sadness is to focus on their thoughts and feelings. Use introspection to delve into the character’s emotions and describe how they’re feeling in a way that is relatable to the reader. You could also use flashbacks or memories to show why the character is feeling sad, and how it’s affecting their current actions and decisions.

How can you use sensory language to create a vivid portrayal of sadness in a poem or story?

Sensory language is an effective way to create a vivid portrayal of sadness in a poem or story. Use descriptive words that evoke the senses, such as the smell of rain on a sad day or the sound of a distant train whistle. You could also use sensory language to describe the physical sensations of sadness, such as the weight of a heavy heart or the taste of tears on the tongue. By using sensory language, you can create a more immersive and emotional reading experience for your audience.

How to Describe Nervousness in Writing (23 Tips + Examples)

How do you move beyond simple statements like “She was nervous” to create a vivid, believable depiction of anxiety?

Here is how to describe nervousness in writing:

Describe nervousness in writing by using vivid language and sensory details. Show physical symptoms like shaking hands or quick breathing. Use dialogue tags such as “stammered,” internal dialogue, and pacing to build tension. Use words like “jittery” or “heart pounding” to deepen emotional impact.

In this guide, you’ll learn everything you need to know about how to describe nervousness in writing.

23 Best Tips for Describing Nervousness in Writing

Table of Contents

In this section, you’ll find 23 tips and techniques, complete with examples, that will guide you in portraying nervousness with nuance and depth.

Read all the way through and then pick the tips that speak to you the most.

1) Demonstrate, Don’t Describe

One of the cardinal rules of effective writing is to show rather than tell.

Instead of merely stating that a character is nervous, portray their anxiety through actions or implications.

This strategy draws the reader into the experience, making it more relatable and impactful.

Example : Instead of writing “John was nervous about the interview,” you could say, “John’s hands trembled as he straightened his tie one last time before stepping into the interview room.”

2) Use Body Language

Body language can be an incredible tool for conveying a character’s nervousness.

The slight tremble in the hands, fidgeting feet, or erratic movement can speak volumes.

In focusing on body language, you give your reader visual cues to better understand the character’s state of mind.

Example : Rather than simply stating “Emily was nervous before her speech,” describe how “Emily kept shifting from one foot to another, her fingers incessantly twirling a strand of hair.”

3) Incorporate Inner Monologue

A character’s inner thoughts offer an unfiltered glimpse into their emotional state.

For nervousness, consider incorporating internal monologue that captures the essence of the character’s fears or concerns.

This internal conversation can range from panicked thoughts to rationalizing statements.

Example : Instead of writing, “Sarah was nervous about the test,” you could write, “‘You can do this, you’ve prepared,’ Sarah thought, attempting to drown out the rising tide of panic that whispered, ‘But what if you fail?’”

4) Employ Facial Expressions

Facial expressions are highly expressive indicators of emotion.

A clenched jaw, furrowed brows, or widened eyes can all be signs of nervousness.

Including these details enriches the imagery and allows the reader to visualize the emotion vividly.

Example : Instead of saying, “Mark was nervous about the confrontation,” you could describe how “Mark’s eyes darted around the room, avoiding eye contact, his lips pinched in a tight line.”

5) Manipulate Pace and Sentence Structure

The pacing of your sentences can mirror the character’s emotional tempo.

Short, choppy sentences can create a feeling of urgency or disquiet, while long, winding sentences may denote an overwrought mind that’s spiraling out of control.

Example : Instead of “Lisa was anxious,” you might write, “Lisa’s thoughts tumbled over each other, a jumbled mess of ‘what-ifs’ and ‘if-onlys,’ her heart pounding as if keeping time with her spiraling anxiety.”

6) Use Metaphors and Similes

Metaphors and similes can also be instrumental in conveying nervousness.

By comparing the emotion or associated bodily sensations to something else, you can evoke a particular feeling or image in the reader’s mind.

Example : You could write, “His nervousness was like a swarm of bees, buzzing uncontrollably in the pit of his stomach,” to imply a sense of chaotic energy and discomfort.

7) Utilize Dialogue and Tone

Dialogue can also be a potent tool for conveying nervousness.

The words a character chooses, their tone, or even the pauses and stutters in their speech can all reveal underlying anxiety.

Through dialogue, you can show a character’s struggle to articulate their thoughts, their tendency to ramble, or their use of filler words—all indicative of nervousness.

Example : Instead of writing, “Tina was nervous about the question,” you could show her hesitation in dialogue: “‘Well, you see, um, it’s a bit complicated, isn’t it?’ Tina’s voice wavered, each word tinged with a nervous lilt that betrayed her composure.”

8) Leverage Environmental Interaction

How a character interacts with their environment can be another window into their emotional state.

Someone who is nervous might fiddle with objects, look away into the distance, or keep glancing at the door.

These interactions serve as nonverbal cues to the reader, adding an extra layer of context to the emotional landscape of the story.

Example : Instead of saying, “Paul was nervous,” you could describe how he interacts with his surroundings: “Paul kept glancing at his watch, then at the door, his fingers drumming an impatient rhythm on the tabletop. Every creak of the floorboards made him start, his eyes darting towards the source of the sound.”

9) Use Sensory Descriptions

Incorporating sensory descriptions can deeply immerse your reader into the character’s emotional state.

Describe how nervousness feels, tastes, sounds, smells, or even looks from the character’s perspective.

Does their mouth go dry? Is there a pit in their stomach?

Sensory details add a tangible quality to emotions, making them feel real to the reader.

Example : Rather than saying, “Raj was anxious,” you could provide sensory details: “A sour taste filled Raj’s mouth, his tongue thick and clumsy as if coated in cotton. His skin tingled with the static of his nerves, every sound magnified to a grating roar.”

10) Incorporate Thought-Action Sequences

When nervous, people often go through a rapid series of thoughts and actions.

Incorporating these thought-action sequences can add a realistic dimension to your depiction of nervousness.

Describe what the character thinks and then immediately show how that thought translates into action or inaction.

Example : Instead of saying, “Lisa felt nervous,” you could write: “‘I can’t mess this up,’ Lisa thought. Almost robotically, she reached for her notes, skimmed through them one last time, and adjusted the microphone. Her hands quivered just enough to remind her of her fragility.”

11) Use Repetitive Actions or Tics

People often exhibit repetitive behaviors or tics when they are nervous.

This could be tapping a foot, scratching an itch that isn’t there, or even humming a tune unconsciously.

These actions can become a character’s signature way of displaying nervousness, aiding in building a more rounded, believable individual.

Example : Instead of saying, “Nina was nervous,” you might write: “Nina kept pulling at the hem of her dress, stretching the fabric until it snapped back into place. It was a nervous tic she had developed as a child and it resurfaced now, a telltale sign of her inner turmoil.”

12) Play with Syntax and Grammar

Unconventional sentence structure can sometimes effectively convey a character’s nervous state.

Fragmented sentences, run-ons, or even abrupt syntactical breaks can make the reader feel the disjointedness or racing thoughts that come with nervousness.

Example : Instead of saying, “Harry was nervous,” you could experiment with sentence structure: “Harry couldn’t sit still. Couldn’t breathe normally. Everything a jumble. Thoughts. Emotions. A cacophony. He was unraveling.”

13) Utilize Flashbacks or Imagery

Sometimes the source of a character’s nervousness is a past event or a vivid imagination projecting worst-case scenarios.

You can employ flashbacks or internal imagery to convey this deeper layer of emotion.

It provides context and depth, making the emotion multidimensional.

Example : Rather than writing, “Martha was nervous,” you could incorporate a flashback: “As Martha waited for her name to be called, a vivid memory flashed before her eyes—the last time she had stood on a similar stage, forgetting all her lines. Her stomach knotted at the thought.”

14) Exaggerate for Effect (Hyperbole)

Sometimes a little exaggeration can drive the point home effectively.

Hyperbole allows you to amplify a character’s emotional state for greater impact.

While you should use this sparingly, an exaggerated description at the right moment can offer an intense snapshot of a character’s feelings.

Example : Instead of simply saying, “Clara was nervous,” you could exaggerate: “Clara felt like her heart was about to burst through her chest and make a run for it, leaving her behind to face the crowd.”

15) Punctuate with Silence

The absence of sound or action can be as powerful as its presence.

Moments of silence, hesitation, or stillness can accentuate a character’s nervousness and build tension.

Readers naturally fill silence with their own anticipation, adding to the emotional depth of a scene.

Example : Instead of saying, “Jim felt nervous,” you could write: “Jim opened his mouth to speak, but words escaped him. An uncomfortable silence filled the room, every tick of the clock amplifying his growing sense of dread.”

16) Use Dialogue Tags and Modifiers

While it’s generally better to show emotion through action and dialogue, sometimes a well-placed tag or modifier can be effective.

Words like “stammered,” “muttered,” or “whispered” can add nuance to speech, indicating a character’s emotional state.

Example : Instead of saying, “Maria was nervous,” consider: “‘I, uh, think we should talk,’ Maria stammered, her voice barely rising above a whisper.”

17) Add Color to Breathing and Voice

Breathing patterns and voice modulation can reveal a lot about someone’s emotional state.

Short, shallow breaths or a tremulous voice can indicate nervousness.

Describe these to allow readers to ‘hear’ and ‘feel’ the character’s nervousness.

Example : Instead of just stating, “Lucas was nervous,” describe his breathing and voice: “Lucas drew a shallow, shaky breath, his words coming out in hesitant fragments: ‘I, um, don’t know how to, uh, say this.'”

18) Describe the Passing of Time

How a character perceives the passing of time can indicate their emotional state.

Time might drag painfully slow or rush by in a disorienting blur when one is nervous.

Use this to build atmosphere and provide insight into the character’s inner world.

Example : Instead of stating, “Kelly felt nervous,” write: “Every second that ticked by felt like an eternity to Kelly, each moment stretching out as she waited for her name to be announced.”

19) Break It with Humor

Sometimes, breaking the tension with a moment of humor can accentuate the nervousness that preceded it.

This can make characters more relatable and endearing to the reader, showcasing their coping mechanisms.

Example : Rather than saying, “Tom was nervous,” you could write: “Tom fumbled with his keys, dropping them twice before finally unlocking the door. ‘Well,’ he chuckled nervously, ‘who needs a security system when you have butterfingers like mine?'”

20) Employ Foreshadowing

You can use foreshadowing to build anticipation and make the character’s nervousness more pronounced.

Plant clues early in the narrative that something significant, and potentially nerve-wracking, will happen later.

Example : Instead of saying, “Sandy was anxious,” employ foreshadowing: “Sandy couldn’t shake off the ominous feeling as she read the anonymous letter again. ‘See you soon,’ it ended, and every time she read those words, her stomach churned with a nervous dread she couldn’t place.”

21) Bring it Full Circle (Callback)

Sometimes calling back to an earlier moment of nervousness can demonstrate growth or a lack thereof in a character.

This can add depth to your character and make the emotion feel earned.

Example : Instead of saying, “Amy was no longer nervous,” you could use a callback: “Amy looked at the stage, remembering how she’d frozen up last year. But this time, her feet were steady. She smiled, her nerves giving way to newfound confidence.”

22) Layered Emotions

Often, nervousness isn’t a standalone emotion; it comes layered with anticipation, excitement, or even dread.

Describing these mixed feelings can offer a more nuanced and relatable portrayal of nervousness.

Example : Instead of saying, “Dan was nervous,” you could layer emotions: “Dan felt a strange cocktail of emotions—nervousness peppered with a dash of excitement and a hint of dread. It was his first day at a new job, after all.”

23) Blend Multiple Techniques

The most compelling portrayals often use a blend of multiple techniques.

By combining different elements like inner monologue, dialogue, body language, and pacing, you can craft a rich, multi-layered portrayal of nervousness that resonates with readers.

Example : “Jane’s fingers tapped an erratic rhythm on her desk. ‘You’ve got this,’ she silently assured herself, her stomach churning like a washing machine on spin cycle. Her breaths came in quick, shallow gasps, failing to clear the fog of unease that clouded her thoughts.”

When describing nervousness, it’s good to first understand it:

30 Words to Describe Nervousness in Writing

When it comes to describing nervousness, the right vocabulary can make all the difference.

Selecting precise words can make your prose more vivid and transport your reader into the emotional landscape of your characters.

Here are 30 words you can use to describe nervousness:

• Apprehensive

30 Phrases to Describe Nervousness in Writing

Sometimes a single word won’t suffice and a phrase can provide a more nuanced description of a character’s emotional state.

The following phrases can add complexity and detail when describing nervousness:

• Heart pounding like a drum
• A bundle of nerves
• Sweating bullets
• Butterflies in the stomach
• Walking on eggshells
• Twisting one’s hands
• Gnawing at the insides
• Mind racing a mile a minute
• Pins and needles
• Shaking like a leaf
• Biting one’s nails
• Stomach in knots
• Breathing quick and shallow
• Fumbling over words
• Ears burning with embarrassment
• Vein throbbing in the temple
• Holding one’s breath
• Suffering a nervous breakdown
• Nervous as a cat on a hot tin roof
• Feeling cornered
• Jumping at shadows
• Second-guessing oneself
• Trembling from head to toe
• Heart skipping a beat
• Palms clammy with sweat
• Restless leg syndrome
• Voice tinged with apprehension
• Pulse racing uncontrollably
• Lost in a fog of nervousness

3 Full Descriptions of Nervousness in Different Genres

Here are three full descriptions of how to describe nervousness in writing.

You’ll read about nervous characters in:

Science Fiction

Mystery/thriller.

John walked into the dimly lit room, its shadows casting eerie patterns on the walls.

His heart pounded in his chest as if a drumroll were announcing his entry. The smell of old books mixed with the musk of mildew, creating an ambiance of foreboding that gnawed at his insides.

He felt like he was walking on eggshells, each step a potential trigger for something he couldn’t quite articulate.

The room seemed to close in on him, and he found himself gripping the edge of the table, his knuckles turning white. His breaths were shallow, each inhalation a laborious task, as he felt the weight of eyes upon him—even though he was alone.

Emma looked across the candle-lit table, her eyes meeting Michael’s.

Her stomach was a swirl of butterflies, fluttering wildly as if trying to escape. Her hands felt clammy, and she discreetly wiped them on her napkin.

As he smiled, she found herself lost in a fog of nervousness, a tingling sensation crawling up her spine.

The thought of what might happen after dinner filled her with a heady mixture of excitement and dread.

Each time their eyes met, her heart skipped a beat, making her wonder if this was love or just a new level of emotional chaos she had yet to understand.

As Captain Williams stood before the interstellar council, his legs trembled beneath his space uniform, almost as if they were about to give way.

His heart felt like it was racing at warp speed, and he was acutely aware of the hundreds of extraterrestrial eyes focused on him.

Each species had its own way of scrutinizing, yet they all seemed to pierce right through him.

This is it, the first contact, don’t mess it up, he thought, his mind racing a mile a minute.

The gravity of the moment bore down on him, heavier than Jupiter’s pull, and he swallowed hard, trying to find his voice amid the lump of apprehension lodged in his throat.

Final Thoughts: How to Describe Nervousness in Writing

Nervousness is a critical element in tension and, therefore, every story.

If you’re looking for more guides on describing emotions and actions in writing, we have many great articles for on this site.

Related Posts:

• How to Describe Fear in Writing (21 Best Tips + Examples)
• How To Describe a Panic Attack in Writing (Ultimate Guide)
• How to Describe a Brave Person in Writing (21 Tips + Examples)
• How to Describe a Hug in Writing (21 Best Tips + Examples)

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How to Describe a Dead Body in a Story

By A.W. Naves

Are you writing a murder scene in your novel? We want to help. We’ve included some words you can use below. Continue reading to find out how to describe a dead body in a story.

Decomposed, rotten ; in a state of physical breakdown.

“The decayed body had been lying in the basement for weeks before the caretaker discovered it.”

“The smell of the decayed corpse filled the room and wafted down the hallway.”

How it Adds Description

The word “decayed” creates an image that evokes a sense of repulsion in the reader. It highlights the passage of time since death and the natural process of decomposition that followed. The advanced state of decay can introduce plot points related to why the body remained undiscovered for an extended period or show that the death occurred under mysterious circumstances.

2. Mutilated

Disfigured, mangled ; having suffered severe damage.

“The mutilated body of Emily’s former lover was barely recognizable.”

“Sheila screamed as she stumbled upon the mutilated corpse deep in the woods.”

The word “mutilated” suggests that the dead body has been severely damaged or disfigured. It indicates a horrible death that may create a sense of shock, horror, or revulsion in the reader. This might serve as a catalyst for the story’s plot, as it often indicates foul play or an unforeseen external force at work that must be sought out and brought to justice.

3. Desiccated

Dried up, withered ; lacking any signs of moisture.

“The desiccated body was found in the scorching desert, but police had no idea how it had ended up there.”

“The desiccated corpse resembled a mummy from some late-night horror flick.”

The word “desiccated” imbues a dead body with a sense of extreme dryness and deterioration, as if it has been drained of life and moisture for a prolonged period. It can set the scene and signal the passage of time or hint at the cause of death. The discovery of a desiccated body may prompt an investigation, forcing characters to confront dark secrets or sinister powers.

Foul-smelling, rancid ; having a strong, offensive odor.

“The putrid stench led them to the bodies of the missing hikers.”

“Flies swarmed around the putrid corpse as it lay hidden for days among the rows of corn.”

The word “putrid” serves to underscore the vile nature of the corpse’s condition. It paints a clear picture of the nauseating smell, bloated and discolored flesh, and the presence of maggots that often accompany such a scene. This sets an ominous tone for the story, signaling that something sinister or tragic has occurred.

5. Skeletal

Bony, emaciated ; resembling a skeleton due to extreme thinness or absence of flesh.

“The skeletal remains were all that was left of the man policed believed to be Keith Sanderson.”

“The body appeared skeletal as if it had been starved for weeks before succumbing to death.”

The word “skeletal” adds a vivid description of a body that has been stripped down to its very essence. It underscores the finality of death but also hints at a backstory, where the body has lain undiscovered for a long time. This might be a pivotal moment in the story, as it creates a sense of mystery and intrigue regarding how the body died and remained hidden for so long.

Rigid, inflexible ; lacking in free movement.

“Tom’s stiff body showed that rigor mortis had begun but it was a mystery how he died.”

“He tried to move the stiff corpse but couldn’t, so he resorted to dismemberment.”

The word “stiff” conveys the lifeless state of the corpse, emphasizing the rigidity that comes with death. This chilling detail not only sets the scene but also hints at the amount of time since the person’s demise, as rigor mortis has set in. It can aid the plot by introducing a timeline around a death that has occurred, tying it to other elements of the story that have occurred.

Swollen, distended ; abnormally enlarged.

“The bloated body floated in the water among the debris from the crash days before.”

“He was taken aback by the sight of the bloated corpse as it bumped against his fishing boat.”

The word “bloated” implies that the death occurred during a certain timeframe, thus prompting an investigation, or triggering a chain of events that drives the narrative. This single word not only sets the tone for the scene but also paves the way for character reactions, interactions, and subsequent developments, making it a powerful tool in storytelling.

8. Unrecognizable

Indistinguishable, distorted ; impossible to identify or recognize.

“The body was so unrecognizable that they needed dental records to confirm the identity.”

“The unrecognizable corpse made it difficult to determine the cause of death.”

The word “unrecognizable” evokes a sense of horror and mystery for readers. It conveys the extent of the damage or decay inflicted upon the body, often implying a violent or gruesome end. This can further the plot, prompting characters to find out what occurred and consider whether they may also be in danger.

9. Festering

Rotting, putrefying; undergoing decay or decomposition.

“The festering body was a breeding ground for maggots and had begun to attract vultures overhead.”

“He covered his nose as he approached the festering corpse of the body that had remained undiscovered until neighbors complained of the smell.”

The word “festering” enhances the reader’s sensory experience but also effectively communicates the passage of time, suggesting that the body has been left to decay and smell. This level of detail may foreshadow a darker, more sinister turn in the narrative, as the decomposing body may symbolize a metaphorical decay or corruption that permeates the story’s setting or characters.

Pale, ashen ; lacking color or liveliness.

“The pallid body looked lifeless and cold against the gray concrete of the abandoned factory.”

“Her once rosy cheeks were now pallid and sunken in a mask of death.”

The word “pallid” effectively conveys the lifeless appearance of a dead body, providing readers with a vivid mental image. It emphasizes the contrast between the vibrant hues of life and the dull, colorless tones of death. This detail not only enriches the narrative but also serves to heighten the reader’s emotional response to the character’s demise.

Apr. 22, 2024

Empowering voices: the future of creative writing at rice university.

Creative writing transcends conventional academic boundaries, serving as both a discipline and a practice that invites diverse perspectives and influences. According to Ian Schimmel, associate teaching professor of English at Rice University, creative writing is characterized by its openness to exploration and expression.

“It does not define the scope of what a thought project should be,” Schimmel said, adding that creative writing encompasses a wide range of forms and styles, from traditional genres like fiction, poetry, nonfiction and drama to emerging mediums that shape contemporary discourse. “It’s very permeable to other parts of the university that want to participate in it.”

Extending beyond mere poetic imagery or storytelling, creative writing delves into the depths of human experience, capturing the rhythm, themes and pauses that define individual narratives.

“We’re all an amalgamation of stories,” said Kiese Laymon, the Libbie Shearn Moody Professor of English. “The rigor of having to explore your imagination and memory with these tools we have is hard work. We try to make it enjoyable work, but it’s definitely hard work.”

Creative writing plays a pivotal role in understanding and interpreting societal narratives, Schimmel pointed out, highlighting the significance of studying hybrid forms that blend elements of journalism, memoir and personal reflection, reflecting the multifaceted nature of contemporary storytelling.

“I prefer the term ‘imaginative writing’ or ‘public writing,’” said Justin Cronin, writer-in-residence in English. “‘Creative writing’ pays less attention to the idea that this is a discipline. It really is a very particular kind of discipline that you need to learn to do.”

At its core, creative writing is about having something to say — a point of view or an urgency that compels expression.

“We are equipping students with the tools to say what they feel is most important and urgent,” Schimmel said. “That’s where the fulfillment comes from.”

For Cronin, teaching creative writing is a dynamic process of self-discovery and exploration.

“Anyone who teaches creative writing is teaching themselves, full stop,” Cronin said. “We are doing both all the time.”

He emphasized the interdisciplinary nature of the discipline, drawing connections between literature, film and societal trends. Cronin’s spring 2024 course titled “The End of the World as We Know It: Writing (and Reading) Apocalypse” exemplifies this interdisciplinary approach, blending literary analysis with creative expression to explore existential themes.

“There is a lot to learn about craft, about how to make a good sentence, how essays really work, how stories or novels work,” Cronin said. “But then there are also the broader questions: Why do we do this? Where does it come from, and where does it go?”

‘It feels like home’

It’s worth reflecting on the latter question in relation to Rice’s creative writing program. Of the current faculty, Cronin has the longest institutional knowledge. He came to Rice in 2003, effectively doubling the program’s full-time faculty.

“It was just me teaching fiction and one poetry professor,” Cronin said. “That was creative writing in 2003.”

A couple of years later when he sold a partial manuscript of what evolved into his trilogy “The Passage,” Cronin stepped down from his full-time teaching role to focus on the series.

Schimmel later joined Rice during a two-year fellowship starting in 2011. After his first year, the two other creative writing faculty members retired.

“I was one of only one or two other people teaching creative writing at Rice in 2012,” Schimmel said.

Associate professor Amber Dermont joined the faculty followed by assistant professor Paul Otremba then Lacy Johnson in 2016, which is when Cronin returned to teach at Rice.

“We made a strategic plan that involved investing in creative writing, trying to make Rice the best undergraduate creative writing program in the country,” said Lacy Johnson, associate professor of creative writing and director of undergraduate studies in English. “We proposed hiring a few more writers so that we could continue to grow.”

And they did, adding Laymon, professor in the practice Andrea Bajani, assistant professor Bryan Washington and associate professor Tomás Q. Morín.

“When I saw the job posting at Rice, every writer I knew was applying for the job,” Morín said. “Every writer I knew wanted to work at Rice because it was a dream job.”

Morin said his desire to join the faculty only grew after visiting the campus during the interview process when he got to meet the people he’d be working with and the students he’d be teaching.

“I felt like this job could be my last stop in terms of my academic career,” Morín said. “This is a place where I could retire. Once I actually did start teaching here, all of that was affirmed. I don’t want to ever teach anywhere else again. This doesn’t feel like a job. It feels like home.”

“With Lacy Johnson, Ian Schimmel, Kiese Laymon, Bryan Washington, Tomás Morín, Amber Dermont, Andrea Bajani and Justin Cronin, Rice boasts some of the most significant writers in the United States,” said Kathleen Canning, dean of the School of Humanities, in sharing her assessment of the creative writing faculty she calls “amazing.”

“Spectacular” is the word Cronin choses to describe his colleagues.

“The amount of raw achievement in so many areas is unparalleled,” Cronin said, pointing to Laymon’s selection as a MacArthur Fellow and Johnson’s creation of the Houston Flood Museum. “We have short story writers, essayists, novelists, poets, screenwriters. We have it all.”

Laymon, who started teaching at Rice in January 2022, expressed that he’s been impressed by how dynamic and thoughtful his colleagues are.

“Our ability to work together is one of the reasons why the creative writing program is growing at such an incredible rate,” Laymon said.

"The learning and the doing"

The program’s not growing just in terms of faculty; the academic powerhouse has captured the imagination and enthusiasm of students, sparking a surge of interest that far exceeds available capacity. Most creative writing classes have waitlists at least 20 students deep, while the waitlists for intro workshops are closer to 75.

“I’ve never worked anywhere where there was such a tremendous curiosity, passion and interest in creative writing at the undergraduate level,” Morín said.

“The desire on the part of these students to use creativity to explore critically and intellectually, I’ve never seen anything like this in my life,” Laymon said, adding that he believes the interest is connected to the strength of the faculty. “You don’t find creative writing programs with any sort of growth unless the students are being taught well.”

Laymon suggested the program’s success also lies in its ability to attract students from diverse disciplines, including computer science, biology and engineering.

“There is such a hunger on our campus to make things and to take what you learned in the classroom and apply it,” Schimmel said. “There’s often a gulf between the theoretical and the practical in an education setting. What’s powerful about creative writing, and the arts in general, is the connectivity between the learning and the doing.”

Faculty members say they appreciate the diverse perspectives and interdisciplinary collaborations that emerge from such a dynamic student body.

“There are so many different kinds of expertise for students to use Rice and Houston as a laboratory to think about the issues that are facing us today,” Johnson said. “Thinking about climate, about science, about community, about culture, where better than Houston to come to learn to write about those things?”

"Experimenting with words"

The creative writing program is a catalyst for that exploration and discovery, empowering students to engage with a myriad of topics and formats while honing their skills as storytellers.

For example, on the nonfiction side, Laymon’s spring 2024 course titled "Verses/Versus: Miseducation of Lauryn Hill v. good kid m.A.A.d. city (or 1998 vs. 2012)” allows students to reflect on how music influences their lives, whether through personal experiences or the albums discussed in class. “Nonfiction Nature Writing,” taught by Johnson, merges writing and environmental philosophy.

“We’re giving consideration to the ways that we think about and talk about the environment as well as practicing writing about our relationship to the environment,” Johnson said. “Students often come to that class from the sciences. I have a lot of students from environmental sciences, geology, physics, ecology and evolutionary biology.”

The class is a different application of science, Johnson added, explaining that it provides students an opportunity to apply and translate what they’ve learned in their other classes in creative ways.

Schimmel, meanwhile, teaches podcasting courses, challenging students to report on stories beyond the hedges of Rice. By interviewing real-life characters and crafting compelling narratives, students gain valuable storytelling skills while exploring the power of audio storytelling.

“We deconstruct the narrative structures of radio storytelling to understand how a large amount of material can be condensed into something that is manageable, enjoyable and informative for an audience,” Schimmel said.

Central to the creative writing experience at Rice is the workshop. Through peer critique and experimentation, students refine their writing and gain insights into audience engagement and narrative structure.

“A workshop environment helps you compare your intentions with the realities of your audience,” Schimmel said. “It pulls you out of yourself. It makes you conscious of how form and technique affect your reader’s desire to interact with your work.”

Laymon underscored the importance of experimentation in creative writing. By encouraging students to explore literary traditions and experiment with language, the program fosters a culture of innovation and self-expression.

“We all have these 26 letters. How do we create a story with them?” Laymon said. “We need young people out there experimenting with words and to be encouraged to do that.”

"A unique opportunity"

As Rice’s creative writing program has evolved, its faculty have remained dedicated to fostering a culture of creativity, expression and intellectual inquiry, shaping the next generation of writers and thinkers.

“One of our goals is to broaden the public’s understanding of what creative writing is and how it can serve as a public utility for all,” Schimmel said.

The next step for the program, according to Cronin, is to elevate from a strong program to a national leader in undergraduate creative writing education.

“We want to be the best undergraduate creative writing program in the country, which means students come to Rice specifically for that,” Cronin said. “We want to build the kind of program that people deliberately seek out. Students apply to a university for a thing, and we want to be that thing.”

Faculty members are exploring the possibility of establishing a Master of Fine Arts (MFA) in creative writing, which reflects the program’s commitment to furthering its impact and engaging with a broader community of writers.

“There’s a lot of interest,” Johnson said. “We have a really unique opportunity at Rice to build something from scratch.”

“That feels incredibly exciting to me,” Morín said, explaining that the goal is to create a program that addresses the shortcomings of the traditional MFA model while offering a fresh and dynamic approach. “It gives me a lot of energy, because as a group, we can offer the kind of experience that a graduate student in creative writing can’t find anywhere else.”

For more information about Rice’s creative writing program, click here .

BRYN DONOVAN

tell your stories, love your life

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How to Describe Anger In Writing

When I was working on The Phoenix Codex , I sometimes took way too much time thinking about ways to describe anger in writing. If my main character, Cassie, got angry enough, wild animals attacked whoever pissed her off, so she became very aware of how her anger feels. 

I know lots of writers also get stuck on how to describe frustration in writing—or annoyance, or flat-out rage. Even when you’re just looking for a few words or a phrase, you can get bogged down. With that in mind, here are ways to write anger descriptions in a more vivid way than “he felt angry.”

Here’s something I can’t stress enough, though. When you’re writing about anger, there are a lot of ways to show the emotion…through what they say, how loudly they say it, what they’re thinking, and their actions (such as aggressively loading the dishwasher.)

My list of ways to describe facial expressions  and my list of body language and gestures can both help in showing the emotion.

But once in a while, you want to describe your point of view character’s internal feelings of anger.

Obviously, this isn’t a comprehensive list. There are one hundred phrases here. A few of them hint at physiological reactions to the emotion of anger, and some employ similes. You can adapt them or mix them up a little, and they’ll probably make you think of more.

The ones that contain a verb can be turned into a phrase. For instance, “she was breathless with anger” can be used in a sentence like, “Breathless with anger, she stood up and walked out.’ Oh, and you can probably change some of these to describe hatred or loathing. And as long as the context is clear, you don’t need to name the emotion at all—a physiological reaction is often enough!

Be sure to pin the article to a Pinterest board or bookmark it for future reference!

he smoldered with resentment

rage flowed through her like lava

molten anger rolled through him

rage gripped her

anger poured through her

her temper sparked

anger stirred within her

his fury sprang to life

rage nearly consumed her

raw anger shot through him

rage pulsed through his veins

anger thrummed through her veins

anger flooded his veins

rage quickened her blood

she felt a flash of irritation

he felt a flicker of irritation

his anger spiked

anger rushed through her

anger overpowered her

rage overtook him

fury overcame her

he swallowed down his frustration

she tamped down her irritation

he mastered his anger

he kept his frustration in check

fury roared through her mind

a fresh swell of rage rose in her

anger rose in him like a tide

anger welled up in his chest

fury vibrated through her being

he burned with anger

irritation pricked at him

inwardly, she was seething

he trembled with rage

she shook with fury

he was quivering with anger

her resentment grew inside her like a tumor

his resentment festered in him

anger spread through him

rage filled her

his irritation flared

it roused her anger

it woke her anger

his edge of irritation had returned

fury surged through her

he went cold with fury

she was breathless with anger

he was wordless with rage

he was almost choking on his rage

nearly suffocating on her fury

she was simmering with anger

he was boiling with anger

a wave of fury crashed through her

he was running on sheer anger

her frustration kicked in

fury twisted inside of her

she was a ball of pure anger

she was about to explode with rage

he felt about to burst from rage

she was in a red rage

rage ran red through his brain

he stoked his anger

a vortex of anger swirled inside him

she fought the chaos of her rage

he tried to still his rage

he pressed down his anger

she struggled against her anger

he bit back his anger

anger heated her blood

rage seared through him

anger swept over her

resentment clouded her thoughts

he was blind with rage

she felt a jolt of anger

anger hardened her heart

rage beat at her heart

rage churned inside of him

he felt drunk on his rage

anger ripped through him

anger rippled through her

fury tore through her

inside, he was smoking with anger

his anger was mounting

her anger coiled in her stomach

he felt a stab of anger

she felt the anger building

he could taste blood

her irritation crackled

she was immobilized by fury

he was brimming with hostility

anger settled over her

rage throbbed in her like a heartbeat

rage pounded in him like a drumbeat

flames of anger licked through him

rage seized her

resentment blossomed within her

his anger felt good

she felt a cleansing anger

he felt a sick anger

he marinated in resentment

It actually took me a really long time to think about all of these! 🙂 I hope it’s a helpful list! I’m going to make a few more for other emotions. If you don’t want to miss those, be sure to follow the blog, if you aren’t already — there’s a place to sign up on the lefthand side of this website.

And in my book Master Lists for Writers , you can find a lot more lists. Take a look!

Thanks for reading, and happy writing!

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40 thoughts on “ how to describe anger in writing ”.

Thank you, these alternatives to anger are excellent. xxx

So glad you like them, Adele! And nice to see you. 🙂

Thank you. x

Writing a Behavior Support Plan for an individual in crisis and I needed to find ways to capture the person’s state-of-being. Thanks for the inspiration and descriptions as some of these are helpful even though what I am doing is not creative writing. Thanks!

I really like those ways of showing anger without mentioning the word but it’s also great to have a hundred examples of how to use it with such variety.

Thanks, Maria! (Great last name, by the way. 😉 )

It is! Do people ever spell yours Donavon? Is there in the whole world anyone who spells their own name that way? Bryn is also good. A good Welsh word.

They do spell it that way! Haha!

Nice, thank you. Some of those, very evocative!!

Thanks so much, friend!

Thanks, Bryn. This long list is stimulating. So often expressing emotions, especially anger, is quite difficult. It is probably easiest to express anger through physical violence – but it is more challenging for a character who is angry and yet wants to/needs to express it in a non-violent way.

Hi, Keith! Thanks. And you bring up such a good point! I think it can be really powerful when a character is angry and _not_ really showing it, or else showing it in more understated ways.

Great list!! I’ve had many times when I wanted something other than ‘She wanted to punch something–preferably his nose.’ Or something similar to that. 🙂

Thanks Bunches!! I’m sure I’ll be referring to this list A Lot for my stories. Romances need to be full of conflict, and anger is certainly a product of that, especially in close relationships. Now that I have this list to refer to, I won’t need to burn up all my brain power trying to come up with a way to describe this emotion, so Thanks Again for burning up your brain for all of us. LOL 🙂

I might just start printing out these addendums and paste them into my copy of MLfW 🙂 These are super helpful, Bryn. Thanks for thinking them up! <3

🙂 Thanks, friend!

Thanks for sharing, Bryn! These are helpful. I reblogged your post on my blog for Write it Wednesday. (I also wrote a 2,218-word short fic today!) Write away!

I always say this, but it’s true: you are so prolific! Thank you so much for sharing…it means a lot, always!

I love all of your alternatives for anything. I’ll be sure to take note of these as well. Your book Master List for writers has become my bible. I even add my own twist on them sometimes to suit whatever’s going on in the scene at the time.

Hi, Nicole! Oh, that means a lot to me. I’m so glad the book is helpful! And I thought people could put their own spin on things, just like you’re doing. 🙂

I’ll be sure to leave a bibliographical reference to you when I’ve completed my book. Thank you so much Bryn. Xx

Oh my gosh, you don’t have to do that, of course! (Even though that would be amazing 😀 ) I hope the book is going well!

Awesome list. Thanks Bryn.

You’re welcome, Dalton! Thanks for stopping by!

I was scouring the internet for a compendious list of expressions to aid my essays. Growing restless by the minute I shuddered at the thought of exams creeping in the corner when I came across your blog. Very helpful. You’re a true lifesaver.:)

Thank you is an understatement Thanks though Thanks a great deal

Hair-trigger temper is another good description.

Just wanted to say thanks trying to make my own book right now and I always struggle with expressing anger

wow. these phrases are extremely useful and really realistic. thank u so much for compiling it

You are so welcome!

These are so good! Thanks so much xx

thx for the phrases

thanks you helped me a lot

Thank you so much! This is great!

Oh yay! So glad you liked it! 🙂

Very good writing resources!!! This is one of the best website I have ever been! There is just a bountiful amount of phrases that I need when writing a composition. Thank so much!! Much appreciated.

Hi bryn donovan , thank you for this list! I was actually quite stressed out as i am going to have my english composition tomorrow and i also didn’t know a lot of good phrases for anger. Upon stumbling on your website, i saw MANY good phrases! so if i write about a character being angry tomorrow , i would definitely hv good marks!UwU THANKS again!!! 🙂

Btw my name is isabel oops i forgot to include it! UwU

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