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How to Show Anger in Writing (10 Best Tips + Examples)

In the vast spectrum of human emotion, anger stands as a formidable force, capable of driving characters to the brink of despair or propelling them into acts of breathtaking courage.

Within the realm of writing, the art of portraying anger is a delicate dance, where every word, every gesture, becomes a brushstroke upon the canvas of emotion. It is a skill that requires finesse, authenticity, and a deep understanding of the human psyche.

How to show anger in writing is not simply a matter of unleashing a torrent of expletives or depicting violent outbursts; rather, it is about capturing the essence of this primal emotion in all its complexity and nuance.

In this guide, we will explore the myriad techniques and strategies that writers can employ to convey anger with depth, resonance, and impact, from crafting vivid imagery and dialogue to structuring conflicts and resolutions.

By delving into the heart of anger and learning how to harness its power, writers can infuse their narratives with an undeniable energy that resonates with readers long after the final page is turned.

Table of Contents

How to Show Anger in Writing

Showing ange r in writing can be effectively conveyed through a series of steps:

Choose the Right Words

Select strong, vivid language that conveys intensity and frustration. Use powerful adjectives and verbs to accurately depict the emotion.

Describe Physical Reactions

Include descriptions of physical manifestations of anger such as clenched fists, flushed cheeks, or gritted teeth. These details help the reader visualize the emotion.

Express Thoughts and Inner Dialogue

Incorporate inner dialogue or thoughts to reveal the character’s internal turmoil and the reasons behind their anger. This adds depth and understanding to the emotion.

Use Tone and Voice

Adjust the tone and voice of the writing to reflect the character’s anger. Short, sharp sentences or fragmented thoughts can convey a sense of agitation.

Show Behavioral Changes

Illustrate changes in behavior or actions that occur as a result of the anger. This could include pacing, slamming doors, or aggressive gestures.

Include Dialogue

Dialogue can be a powerful tool for showing anger. Use sharp, confrontational language and interruptions to reflect the tension in the interaction.

Avoid Clichés

Steer clear of clichéd expressions of anger and instead opt for fresh, original descriptions that capture the character’s unique voice and perspective.

Provide Context

Contextualize the anger by revealing the events or circumstances that triggered it. This helps the reader understand and empathize with the character’s emotional response.

Show Consequences

Depict the consequences of the character’s anger, whether it leads to conflict, damage to relationships, or other repercussions. This adds realism and depth to the narrative.

Consider Point of View

Adjust the portrayal of anger based on the character’s point of view. First-person narration may offer a more immediate and intense experience of anger, while third-person narration allows for a broader perspective.

By following these steps , writers can effectively convey anger in their writing, creating engaging and authentic portrayals of this powerful emotion.

Understanding Anger

Unlocking the enigma of anger is akin to deciphering a tempestuous storm trapped within the confines of the human soul.

It’s a raw, primal force that surges through our veins, igniting fires of emotion and propelling us into tumultuous waters.

Understanding anger requires delving into the labyrinth of human psychology, where triggers lurk in the shadows and responses dance on the edge of reason. It’s a kaleidoscope of sensation, a symphony of chaos waiting to be conducted.

Yet, amidst the fury, lies profound insight into our deepest fears, insecurities, and unmet needs. Anger is not merely a destructive force; it is a messenger, beckoning us to explore the depths of our being and uncover the truths that lie buried beneath the surface.

Techniques for Conveying Anger

Crafting the perfect portrayal of anger in writing is akin to wielding a masterful brushstroke upon the canvas of emotion. It’s about channeling the molten intensity of fury into words that crackle and sizzle with undeniable power.

From the scorching cadence of dialogue to the searing imagery that brands itself upon the reader’s mind, each technique serves as a conduit for the relentless torrent of emotion.

Like a skilled artisan sculpting from raw clay, writers mold characters with layers of complexity, infusing their anger with nuance and authenticity.

Metaphors become weapons, slashing through the veil of civility to reveal the raw, pulsating core of discontent.

In this symphony of expression, every word is a note, every sentence a crescendo, building towards a climax that leaves the reader breathless and trembling in the wake of such raw, unbridled emotion.

Vivid Imagery and Descriptive Language

Vivid imagery and descriptive language are the lifeblood of storytelling, infusing narratives with color, texture, and depth.

Like a master painter wielding a vibrant palette, writers deftly brush strokes of imagery across the canvas of the reader’s mind, transporting them to realms both familiar and fantastical.

Through carefully chosen words, they conjure landscapes that stretch to the horizon, where azure skies meet emerald seas in a breathtaking dance of light and shadow.

Each sensory detail becomes a thread, weaving a tapestry of sensation that envelops the reader, from the crisp scent of autumn leaves crunching beneath weary feet to the velvety touch of moonlight caressing the skin.

In this symphony of sensation, every metaphor, every simile, is a brushstroke, painting vivid portraits of characters, places, and emotions that linger long after the final page is turned.

Symbolism and Metaphor

Symbolism and metaphor serve as the alchemical keys that unlock hidden chambers of meaning within the labyrinth of literature.

They are the whispered secrets that echo between the lines, inviting readers to unravel the mysteries concealed within the text.

Like a skilled magician, writers weave symbols and metaphors into the fabric of their narratives, imbuing them with layers of significance that transcend the literal.

A single rose may represent love’s tender embrace or the sting of betrayal, while a storm brewing on the horizon heralds impending turmoil or cleansing renewal.

Through these subtle nuances, writers paint with shades of symbolism, inviting readers to explore the rich tapestry of human experience.

In the dance of metaphor, ordinary objects become vessels of profound revelation, illuminating truths that resonate with universal truths.

It is through these shimmering veils of symbol and metaphor that the essence of storytelling is revealed, inviting readers to embark on a journey of discovery through the landscapes of imagination.

Structuring Anger in Writing

Structuring anger in writing is akin to orchestrating a symphony of emotion, each note carefully composed to build tension, crescendo to climax, and ultimately resolve in a cacophony of release. It begins with the subtle rumblings of discontent, planting seeds of unrest that germinate into full-blown conflict.

Like a skilled architect, writers erect the framework of fury, layering bricks of escalating tension until the walls of restraint threaten to crumble.

With each turn of the page, anger surges like a tempest, swirling and eddying in a torrent of raw emotion, until it reaches a zenith of intensity that leaves readers breathless in its wake.

Yet, even amidst the chaos, there lies a delicate balance, a quiet aftermath where the ashes of anger smolder and cool, paving the way for resolution and growth.

In this delicate dance between chaos and order, writers harness the primal power of anger, sculpting narratives that resonate with the raw, unbridled energy of human emotion.

Introduction of Conflict

The introduction of conflict is the pivotal moment where the still waters of narrative tranquility are disrupted by the first ripples of discord.

Like a crack of thunder in a serene sky, it jolts both characters and readers out of complacency, setting the stage for the turbulent journey ahead.

Whether it’s a clash of personalities, a clash of ideals, or a clash with the external forces of the world, conflict serves as the catalyst that propels the story forward.

It ignites the spark of tension, fueling the flames of anticipation as characters grapple with adversity and confront the obstacles that stand in their path.

In this crucible of conflict, alliances are forged, loyalties are tested, and the true nature of characters is laid bare.

It is through the introduction of conflict that the narrative finds its purpose, its direction, and its heart, setting the stage for the transformative journey that lies ahead.

Escalation and Climax

Escalation and climax are the twin peaks of narrative tension, the crescendo towards which every word, every action, every heartbeat inexorably builds.

Like a rollercoaster ascending to its zenith, the tension mounts with each twist and turn, drawing readers ever closer to the edge of their seats. With deft strokes of the pen, writers amplify the stakes, raising the emotional stakes to dizzying heights as conflicts escalate and tensions reach a fever pitch.

The climax emerges as the culmination of this relentless ascent, a moment of catharsis where the forces of conflict collide in a cataclysmic eruption of action and emotion.

It is here, amidst the thunder and lightning of narrative climax, that characters are tested to their limits, and destinies are decided.

In this pivotal moment, readers are held captive, breathless with anticipation, as they witness the ultimate resolution of the story’s central conflict.

Dos and Don’ts of Writing Anger

In the volatile landscape of writing anger, navigating the dos and don’ts is akin to traversing a minefield of emotion, where missteps can detonate with explosive consequences.

The dos beckon like beacons of guidance, urging writers to harness the tempestuous energy of anger with finesse and authenticity.

Do tap into personal experiences, drawing from the wellspring of raw emotion to infuse characters with depth and resonance.

Balance becomes the watchword, as writers deftly interweave anger with other emotions, crafting a nuanced portrayal that reflects the complex tapestry of human experience. Yet, amid the dos, lie the perilous pitfalls of the don’ts, where clichés and stereotypes lurk like hidden traps.

Don’t succumb to the siren song of tired tropes, where anger is reduced to a one-dimensional caricature devoid of authenticity.

And above all, don’t allow anger to overshadow the narrative’s purpose or message, lest it consume the story like a wildfire devouring the forest floor.

In this delicate dance between dos and don’ts, writers find themselves walking a tightrope suspended between brilliance and oblivion, where every word becomes a step forward or a stumble into the abyss.

Revision and Editing Tips

Revision and editing are the alchemical processes through which the rough ore of raw writing is transformed into the gleaming gold of polished prose.

Like a sculptor chiseling away at a block of marble, writers must approach revision with a discerning eye and a willingness to let go of what no longer serves the narrative.

Take breaks, breathe, gain perspective—these are the mantras of the revisionist, for distance lends clarity and objectivity to the creative process.

Seek feedback from trusted allies, for fresh eyes can uncover hidden gems and expose blind spots missed in the heat of creation.

Refinement becomes the name of the game, as writers hone their language, tighten their structure, and elevate their prose to new heights of brilliance.

And remember, revision is not a solitary endeavor but a collaborative dance between writer and editor, each step bringing the manuscript closer to its ultimate destiny—a masterpiece worthy of the ages.

Examples of Anger in Literature

In the grand tapestry of literature, anger is a vibrant thread woven into the very fabric of storytelling, manifesting in a myriad of forms across genres and epochs.

From the thunderous rage of Achilles in Homer’s “Iliad,” whose wrath sets the stage for the epic clash of gods and mortals, to the simmering resentment of Miss Havisham in Dickens’ “Great Expectations,” whose bitter fury becomes a haunting specter haunting the lives of those around her, anger emerges as a dynamic force driving the narrative forward.

In Morrison’s “Beloved,” Sethe’s seething anger at the horrors of slavery becomes a palpable presence, shaping the lives of her family and haunting the very walls of their home.

Even in the fantastical realms of Tolkien’s Middle-earth, the fiery wrath of Sauron serves as a catalyst for conflict, driving the forces of good and evil towards a climactic showdown.

Through these diverse examples, anger emerges not as a mere emotion, but as a potent narrative device, a catalyst for change and transformation that resonates with readers across cultures and generations.

Analyzing excerpts from renowned authors

Analyzing excerpts from renowned authors is akin to embarking on a literary pilgrimage, each passage a sacred relic imbued with the wisdom and insight of its creator.

From the haunting soliloquies of Shakespeare’s Hamlet to the lyrical prose of Toni Morrison’s “Beloved,” these snippets offer glimpses into the minds of literary giants, inviting readers to unravel the mysteries concealed within their words.

Through close reading and critical analysis , we unearth the layers of symbolism, metaphor, and theme that lie beneath the surface, peeling back the veil to reveal the inner workings of the author’s craft.

Each excerpt becomes a microcosm of the larger work, a microcosm teeming with meaning and significance waiting to be unearthed by the diligent reader.

In this journey of exploration, we not only deepen our understanding of literature but also enrich our own creative endeavors, drawing inspiration from the masters who have come before us.

Contemporary examples in various genres

In the kaleidoscope of contemporary literature, anger emerges as a dynamic force across a multitude of genres, each one offering a unique lens through which to explore the complexities of human emotion.

In dystopian fiction, authors like Margaret Atwood and George Orwell channel societal discontent into narratives of rebellion and resistance, where anger becomes a catalyst for revolution against oppressive regimes.

In the realm of crime fiction, authors such as Gillian Flynn and Stieg Larsson infuse their thrillers with simmering rage, driving characters to seek justice in the face of corruption and injustice.

Even in the tender confines of romance novels , authors like Colleen Hoover and Jojo Moyes delve into the depths of human passion, where love and anger intertwine in a tumultuous dance of desire and despair.

Across genres and storytelling mediums, contemporary literature offers a rich tapestry of anger, weaving together narratives that resonate with the complexities of the modern world.

Exercises and Prompts

Exercises and prompts are the creative crucibles in which writers forge their literary prowess, transforming raw ideas into polished gems of storytelling brilliance.

Like a blacksmith’s forge, these exercises temper the creative spirit, honing skills and sharpening instincts through trial and experimentation.

From flash fiction challenges that ignite the imagination in a blaze of inspiration to character-building exercises that breathe life into the most enigmatic of protagonists, each prompt offers a doorway into the boundless realms of creativity.

Whether it’s crafting a story from a single word or exploring the depths of emotion through journaling prompts , these exercises serve as the scaffolding upon which literary masterpieces are built.

Through their guidance, writers embark on a journey of self-discovery, uncovering hidden talents and unearthing untold stories waiting to be told.

In the alchemy of creation, exercises and prompts are the catalysts that transform dreams into reality, sparking the flames of inspiration that burn bright within every writer’s soul.

Frequently Asked Questions (FAQ) about How to Show Anger in Writing

What are some effective ways to convey anger without resorting to clichés or stereotypes.

Showing anger in writing requires a nuanced approach. Instead of relying on tired tropes, try delving into the character’s internal thoughts and physical reactions. Explore unique metaphors and imagery that vividly portray the emotion without relying on overused expressions.

How can I make sure that my portrayal of anger feels authentic and believable to readers?

Authenticity is key when depicting anger in writing. Draw from personal experiences or observe how people express anger in real life. Pay attention to body language, tone of voice, and the subtle nuances of emotion. Incorporating these details will lend credibility to your portrayal.

Is it necessary for characters to express their anger overtly, or can it be conveyed subtly?

Anger can be portrayed in various ways, ranging from explosive outbursts to simmering resentment. Subtle cues such as clenched fists, narrowed eyes, or terse dialogue can be just as effective in conveying anger as more overt displays. Consider the context of the scene and the personality of the character to determine the most appropriate approach.

How can I avoid glorifying or romanticizing anger in my writing?

It’s important to be mindful of the consequences of portraying anger in a positive light. Instead of glorifying anger, focus on depicting its negative impact on relationships, mental health, and personal well-being. Show the repercussions of unchecked anger and explore themes of remorse, forgiveness, and personal growth.

Are there any exercises or prompts I can use to practice portraying anger in my writing?

Absolutely! Try writing scenes from different perspectives, exploring how different characters react to the same triggering event. Experiment with varying levels of intensity and explore the underlying motivations behind the anger. Additionally, you can use writing prompts focused specifically on anger to challenge yourself and hone your skills .

In the intricate tapestry of storytelling, anger emerges as a powerful brushstroke, adding depth, complexity, and intensity to the narrative canvas.

Through the exploration of various techniques, from vivid imagery and dialogue to nuanced characterization and symbolism, writers can master the art of portraying anger in writing.

By delving into the depths of human emotion and drawing from personal experiences, writers can infuse their narratives with authenticity and resonance, captivating readers and eliciting a visceral response.

However, it is essential to wield this potent tool with care, avoiding clichés, stereotypes, and glorification, and instead focusing on portraying anger in all its complexity and nuance.

In conclusion, by harnessing the transformative power of anger, writers can craft stories that resonate deeply with readers, leaving an indelible imprint long after the final page is turned.

Related Posts:

• How to Describe Confusion in a Story (10 Best Tips)
• How To Describe Betrayal In Writing (15 Important Steps)
• How to Describe a Poor Person in a Story (08 Best Tips)
• Writing A Letter To Someone Who Hurt You (11 Best Tips)
• How To Describe Fight Scenes In Writing (14 Best Tips)
• How To Describe Fear In Writing (13 Steps You Need To Know)

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Emotion Thesaurus: Shock/Surprise

February 28, 2008 by ANGELA ACKERMAN

When it comes to emotion, sometimes we need a brainstorming nudge. After all, each character will express their feelings differently depending on their personality, emotional range, and comfort zone. We hope this short, sample list of expressions will help you better imagine how your character might show this emotion!

If you need to go deeper , we have detailed lists of body language, visceral sensations, dialogue cues, and mental responses for 130 emotions in the 2019 expanded second edition of The Emotion Thesaurus: A Writer’s Guide to Character Expression .

SHOCK/SURPRISE

· A small yelp, gasp, squeal, or scream · Tingling skin · A heavy feeling in the stomach · A stiffening posture, rigid muscles · A sudden coldness (dread) that hits at the core · Reaching up a hand to lightly clasp the throat · Splaying the fingers out in a fan against the breastbone · Pulling books or another object tight against chest · Eyes that water, shine, or form tears · A sudden onset of anger or frustration (swearing, screaming, acting violent) · A shaky voice–soft, halting, disbelieving · Asking simple questions for clarification: who, when, why? · A feeling of disorientation, dizziness, euphoria · A shaky or slow smile that builds as the surprise sinks in · Grabbing someone close by for comfort · Giving a quick bark of laughter…

Win your readers’ hearts by tailoring your character’s emotional responses so they’re compelling, credible, and realistic.

If you struggle with writing emotions, you aren’t alone. The Emotion Thesaurus: A Writer’s Guide to Character Expression has helped writers all over the globe, and it can help you. To find out more about this bestselling book, please visit our bookstore .

Prefer the flexibility of instant online access and greater searchability?

The Emotion Thesaurus is also at our sister site,  One Stop for Writers . Visit the Emotion Thesaurus Page to view our complete list of entries.

TIP: While you’re there, check out our hyper-intelligent Character Builder that helps you create deep, memorable characters in half the time !

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

November 21, 2021 at 5:13 am

Amazing website! I’m 9 years old I’ve been using it for quite a while and I am loving it!

November 21, 2021 at 9:35 am

I’m so glad you’re enjoying it, Sakina!

June 20, 2020 at 5:25 am

Your tips helped me write a perfect composition to win 1st prize for the Primary Composition Writing Competition! Thank you so much1 Hope I can share my prize money with you!

June 20, 2020 at 12:39 pm

Congrats, Ephea! That’s wonderful news. Keep writing up a storm!

September 4, 2017 at 5:04 am

Mrs Ackerman can I send you an e-mail? I need your help with my writings desperately

September 4, 2017 at 12:35 pm

Feel free. 🙂 You’ll find it on our CONTACT US page. 🙂

November 28, 2015 at 4:44 pm

I’m 16 years old and I want to be a writer after I finish school! This thesaurus is absolutely amazing! It helps me a lot! 🙂

November 29, 2015 at 2:22 am

That is awesome Malia! I wish I had started writing so early. I love that you know you love writing and want to be a writer. You can do it! 🙂

April 7, 2015 at 9:35 am

This is an amazing resource. Thank you very much. Even though I write in Portuguese, I’ve been using this thesaurus for reference over and over again.

April 7, 2015 at 10:44 am

So glad to hear that you’re finding it useful, Fernando—even if it’s in a different language :).

May 2, 2010 at 10:51 pm

Just used this again and had to say thank you. I put the link to our article covering this and your other thesaurus tools on our new Popular Posts section so everyone can see it. Thanks so much!

February 4, 2010 at 9:10 am

November 29, 2009 at 12:10 pm

I used your blog for my first book… Most Wanted by Mark McHugh (available on Amazon) and I am finding it indespensible for the sequel, which I am now writing. Happy bursts of screaming, shouting, laughter, squeals, giggles from a devoted fan!

March 12, 2009 at 10:33 am

Glad to see you here, Roy!

March 12, 2009 at 10:12 am

I made it, finally. Just what I needed ladies, as I try to write a new scene.

February 28, 2008 at 10:04 pm

These are great. I know I’ll refer back to them often. Thank you so much, both of you!

February 28, 2008 at 6:07 pm

*stares at Sera phyn*

LOL, thanks. Glad it’s helping!

February 28, 2008 at 3:11 pm

You took the challenge! That’s wonderful! I’m in the middle of my book and people are starting to stare in shock a lot; I needed a reference like this to fall back on. You guys are great! 😀

Sera-Phyn.com

[…] simple questions to clarify […]

[…] Emotion Thesaurus: Shock/Surprise: this article is from the site “Writers Helping Writers.” They have multiple “emotion thesauruses” to help you out! They also suggest tailoring responses to your character. […]

[…] also can lead to Anger responses, or be paired with Shock. You can combine actions from these emotions to convey an even more accurate […]

[…] Shock/Surprise […]

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How to Effectively “Tell” Emotions in Fiction

This post originally, drawn from material in my Emotional Mastery course , ran on Larry Brooks’s blog in the summer. Reprinted here for your edification!

Many amateur writers ineffectively tell or name what a character’s emotions are. That’s often because they haven’t learned masterful ways to get the emotion across.

Telling an emotion doesn’t make readers feel or experience the emotion. It often creates more problems: the writing gets burdened with lists of emotions, and in the writer’s attempt to push harder in the hope of conveying emotion, she overdoes it. Adding to that, she might throw in all those body sensations for good measure, cramming the prose with so much “emotion” that the only thing readers feel is irritation.

Yet, there may be times when telling emotion is masterfully done. You can find plenty of excellent novels in which characters name the emotions they’re feeling.

It Has to Be in Character

Think about your character. Yours might be the type to name her emotions. With a young character, for example, it’s wholly believable for her to think in simple labels, rather than in nuance and complexity of emotion. What she is feeling might be complex, and the reader would pick that up, but what she herself believes, how she interprets what she is feeling, might be told plainly as it is understood plainly.

If it’s in character for your character to think like that, then, by all means, do so.

What kind of character would name her emotion?

One that has enough self-awareness to be able to identify what she is feeling. Or at least try to identify. Or want to identify her emotion.

Not everyone is like that. A teen girl is more apt to ponder her emotions than a middle-aged highly educated male computer programmer.

See, don’t default to assumptions and stereotypes. It’s all about personality. Maybe your computer geek is deeply in touch with what he calls his female side. Or maybe, conversely, he’s quick to jump to conclusions, and that includes defining his and others’ emotions by labeling without much thought.

Let’s take a look at the award-winning women’s fiction novel Words by Ginny Yttrup. Yttrup’s character, Sierra, understands her emotions. She is self-aware and notices when she is feeling something. This fits her character, who is an artist who’s been through much grief and loss (I’ll put in boldface where she identifies her emotion).

By the time I leave Ruby’s, it’s almost eleven, and the sun is high overhead. I unzip the canvas top from my Jeep, and Van and I take off with the wind in our hair—or fur. I head out Mt. Hermon Road toward Hwy 17 with the intent of returning home to work for the remainder of the day. But as I tick off the miles toward home, something nags at me—a distinct feeling that I’m going the wrong way.

The closer I get to home, the more agitated I become. By the time Hwy 17 turns into Ocean Street, my agitation has turned to anger . I pull off the street and into an empty parking lot.

“What? What do You want from me?”

Van cocks an ear and then sinks down in the passenger seat.

I reach over and pat his neck, “Sorry, boy, I’m not yelling at you.” I sigh, “I just . . . I just don’t know what to do.”

I rest my head on the steering wheel and try to figure out what to do. Should I go back and try to find the little girl again? No. That’s ridiculous. This has nothing to do with me . . .

What if it were Annie?

The question pricks my conscience and then stabs my heart.

“But it’s not Annie!” I scream. “She’s gone. She’s”—the word catches in my throat and I feel hot tears brimming—”dead.” I wipe away my tears with my fist and then bang my fist on the steering wheel.

“She’s dead and this has nothing to do with her or with me!” With that, I put the Jeep back in gear and pull back onto Ocean Street. Within minutes, I’m in my driveway and out of the Jeep.

I hold the driver’s side door open for Van. “Come on, get out.”

Van doesn’t move.

“Van, come on!” He still doesn’t move. I reach behind the front seat for Van’s leash and attach it to his collar.

“Van Gogh, come!” I speak the command in my firmest tone and tug on the leash. He resists and remains in the passenger seat.

I throw down my end of the leash and walk around the car and open the passenger door. “Van,” I say through clenched teeth, “get out now.”

 Van jumps from his seat to the ground, runs around the front of the Jeep with his leash dragging behind him, and jumps back in the driver’s side door. He maneuvers over the gearshift and sits back in the passenger seat.

“Fine. Stay there!” I slam the passenger door and head for the bungalow. Again I feel hot tears slide down my cheeks. This time I don’t even bother wiping them away. I reach the front door, turn the knob, and remember my house key is in my backpack, which, of course, is still in the car.

I turn back toward the car and see through a blur of tears that Van is still holding his vigil in the front seat.

“And she thinks you’re ‘progress’? You’re just a pain in the neck!”

As I again reach behind the front seat, this time for my backpack, Van leans in and begins licking the tears from my face. “Stop it.” I push him away. But he moves closer, this time resting his wet muzzle on my shoulder.

It’s too much.

Twelve years’ worth of pain rumbles to the surface. There’s no stopping it. Like a train roaring through a tunnel, the sobs come with a force I can’t stop—great heaving sobs. I hold Van tight and soak his fur. I don’t care what I look like standing in my driveway, clinging to the dog in my car. I don’t care about anything except this pain I’ve held for so long.

And can hold no longer.

I don’t know how long I stand there—minutes? Hours? Finally the sobs wane. I climb into the passenger seat with Van and pull a few crumpled napkins from the glove compartment. I blow my nose and lean into Van again, resting my head on him and closing my eyes. Spent . Exhausted. But oddly at peace .

The question comes again: What if it were Annie?

I think of my daughter so long gone from me. I think of the dreams I had for us. I wonder, as I have a thousand times before, what she’d look like now if she were still alive. And then I remember the fear I saw in the eyes of the child in the clearing.

Yes . What if it was Annie and no one came to help her?

I get out of the Jeep and walk back to the driver’s side and get in.

“Okay, you win. We’re going back.” I’m not sure if I’m speaking to God or Van—they’re seemingly working together. But Van’s tail wags in response.

As I turn the key in the ignition, I realize I’m taking my first step of faith in over a dozen years. I’m not in control here.

And I’m scared to death .

In this powerful scene, we see that wonderful combination of showing emotion, telling emotion, and thoughts that reveal emotion (the three ways to convey emotion in characters).

Don’t Try to Name the Complex Emotions

Instead, it’s her thoughts of Annie, of her loss, that show readers what causes the emotions she then indicates via body language. Thoughts lead to emotions, in both our characters and in our readers.

Use Anger to Good Advantage

Anger is an easy emotion to grab when we don’t want to face painful emotions: loss, pain, shame, guilt, grief, or hurt. But anger usually masks something else.

To many people, hurt sparks anger so it looks like anger. But anger is the result, not the root.

A character might tell the emotion she is feeling—anger—but the reader knows it’s not really anger she’s feeling. Her body sensations and behavior may say “anger,” because anger is on the surface and moving her.

This is why complex emotions are best revealed by thoughts. If readers know the source of the emotions, the why , then they can empathize with the situation, and what they feel, by placing themselves in that situation, will be those complex emotions that you do not name.

It Has to Be in POV

If we keep in mind that the narrative— all the narrative —in a scene is the POV character’s thoughts, it will be clearer to us when to tell emotion.

When would your character think to name an emotion? When she is aware of her feelings, right? In the kind of moment when the character would stop and consider how she’s feeling. And only if it fits the character.

For example, when a writer tells the reader via author intrusion that his character is jealous, it’s one step removed. It’s out of POV.

Jason stood at the corner and saw his girl flirting with Bill Jones in front of the bank. He was jealous because he really didn’t know if Rose’s affections were genuine or if she was just toying with him and he couldn’t bear the thought that she might like that jerk more than him.

We sense immediately that this is the author speaking to the reader. Jason isn’t thinking “I’m jealous because I really don’t know if Rose’s affections toward me are genuine.” Right?

One great way to check to see if your narrative is authentic when writing in third person is to switch it to first. So, here, first off, ask: Is Jason the type of guy to stop and explore his feelings—while he’s standing on a corner reacting to this unexpected scenario?

Not likely, even if he’s set up to be a touchy-feely kind of guy. Not even if he’s a therapist. Not in that moment when he is reacting . Maybe later when he’s processing he’ll admit to himself that he was jealous. And he might name the emotion. It could be in dialogue, for instance:

“What’s bugging you, bro?” Steve asked him.

“I saw Rose talking to that creep Jones,” Jason said.

Steve eyed him, and a smirk rose on his face. “Don’t tell me you’re jealous.”

“Sure I’m jealous. She just agreed to go to Vegas with me. You’d be jealous too, if Cindy was making eyes at a loser like Jones.”

In that kind of situation, it’s believable that Jason is going to name his emotion. And it would work as internal dialogue or narrative too:

Jason stormed off down the street and into the nearby coffee shop. He blew out a breath, feeling like he was about to blow a fuse. Admit it—you’re jealous. You just can’t trust her. And that’s your problem. It’s always been your problem.

Which is basically the same as

Jason stormed off down the street and into the nearby coffee shop. He blew out a breath, feeling like he was about to blow a fuse. He was jealous. No denying it. He thought he was past that, had gotten a handle on the jealousy after Denise dumped him. But here it was, like some ugly monster from the Black Lagoon slithering up his neck, whispering poisonous words into his ear.

That’s a bit melodramatic, but I hope you get the point. It’s all about how your character would think.

When you tell emotions in fiction in a masterful way, it can be effective, believable, and powerful.

Want to learn how to become a masterful wielder of emotion in your fiction? Enroll in my new online video course, Emotional Mastery for Fiction Writers .

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Powerful post! Some writers stray from telling to overly showing emotions without finding the balance for the POV character.

Thanks, DiAnn. It was an interesting issue to ponder and research. I realized that we all name our emotions all the time (but it doesn’t mean we’re right, though!). But since everything is about POV, it must fit both the character and the moment to make it believable.

Thanks for the article. The “switch it to first” check is something I will try. The examples help also.

Question: showing/telling emotion seems to require a ‘tightness’ of the POV that makes it hard to include other information (clothing, setting) that the character wouldn’t be thinking about (for example, in their own home).

How do you balance those two things?

Hi John, that is a terrific question and an issue I often talk about. How important is it to know a character’s hair and eye color? How important is it to desribe, via POV, the items in a character’s room? It’s not. While we want to be sure to use sensory details to describe setting, we want every bit of information to help our story, to add mystery and tension, reveal bits about character to help us like/hate/empathize with that character. I have a lot of posts on masterful description of character and setting, so be sure to read those, as they have great examples of passages from novels by excellent writers who are masters at this.

As far as a character describing (thinking about) himself, it should be done in a way to reveal the character’s mind-set. Instead of having him think about how tall he is, if his height MATTERS in the story, you might have him wonder why no one ever cleans the top of their fridge (my husband, being 6’7″ just didn’t realize for most of his life that the “average” person couldn’t see the top of a fridge) and make a remark in conversation, with someone replying, “well, you would notice that!” In other words, any description about self (character) has to help the story and not just be a useless laundry list. A girl can hate her mousy, stringy hair and be trying to do something with it. That reveals description of her hair, but it serves a purpose.

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How to Express Anger in Writing

Last Updated: April 30, 2024 Fact Checked

This article was reviewed by Gerald Posner and by wikiHow staff writer, Jennifer Mueller, JD . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 125,649 times.

You can't write a great story without emotion and anger can be one of the most powerful emotions people have. What makes a character angry and how they deal with that anger tells your readers a lot about that character. To make it compelling, though, you can't just have a character say "I'm angry." They need to show that anger through action that advances the plot. Here, we've gathered some ideas you can use to express anger in your writing.

Show the angry character's behavior.

• For example, you might write: "Mia slammed the phone down on the table and stormed out of the room." While your character hasn't involved anyone else, it's pretty obvious from her behavior that she's angry.
• For a more confrontational scene, you might write: "Kale stepped toward Micah, glaring at him. Before Micah could react, Kale shoved him backward, screaming, 'How could you do that?'"

Describe the character's facial expression.

• For example, you might write: "Alex's nostrils flared as he stared at Jenna. He couldn't believe she'd taken Michael to the game without asking him first."
• Here are some other phrases: "hostile glare," "face contorted with rage," "bared teeth," "curled lip," "clenched jaw."
• Eyes are often considered containers or gateways to emotional expression, so you can also show anger just by describing the character's eyes. [3] X Research source For example, you might write, "Jenna's eyes hardened and narrowed into slits as she watched Tara enter arm-in-arm with her ex-girlfriend, Mia."

Add angry body language.

• For example, you might write: "Brooklyn stood, their fists clenched by their sides, and rolled their shoulders back, glaring at Trinity. 'Care to say that again?'"
• Other angry body language includes wild gestures, pointing at or grabbing another character, pacing rapidly, or tensing their muscles.

Include physical side effects triggered by anger.

• For example, you might write: "Sara's heart raced in her chest as she looked at her phone. She willed her hand to stop shaking as she slowly read the text again."
• Other physical effects of anger include pulsing or throbbing veins, a flushed face or neck, a dry mouth, or breathlessness.

Report the angry character's thoughts.

• For example, you might write: "The room felt like it was closing in around me. In my mind, I was growing larger and larger, expanding with rage. If I didn't do something, fast, to get myself under control, I'd explode and take out everyone and everything around me."
• This can also work in a third-person narrative if your narrator is omniscient. For example, you might write: "Kieran gripped the glass in his hand. His first thought was to throw it to the floor and smash it, but he knew if he did that, he wouldn't stop until every glass in the cupboard was in shards."

Describe how other characters react to the anger.

• For example, you might write: "Mara looked away from Sean and slumped in her chair, crossing her arms across her chest. The more he fumed, the smaller she made herself."
• You might also have another character attempt to calm or restrain the angry character. They might say something like, "Hey, easy man—no need to get worked up," or "There are more important things—just let it go."
• For yet another option, have a character throw out an obvious (and awkward) distraction or attempt to change the subject. Make it clear in your narration that they're trying to divert attention from either the angry character or the source of the anger.

Use an abrupt, staccato sentence structure.

• For example, you might write: "Ronan made his way across the dance floor with eyes shooting lasers. The walls. The speakers. The lights. The DJ. Smiles crashed and laughter died. Only Josh and Sam danced on, oblivious."
• Go for short, harsh-sounding words like "smash," "crash," "halt," "force," "blast," or "slam."

Express inner turmoil by having a character isolate themselves.

• For example, you might write: "Kairi sat in the dark, ignoring her mother's calls to come eat dinner. She continued to cut the photos into strips and hold them in the candle's flame, oblivious to the pain in her fingertips as she destroyed all evidence of her former friendship."
• Your character might be angry at themselves more than anyone else. They might also be mad at a situation but blame themselves for that situation. In those scenarios, they're more likely to take that anger out on themselves than on someone else.
• Other ways a character might take anger out on themselves include isolating themselves from others, refusing comfort from others, or hurting themselves.

Use sarcasm to show passive-aggressive anger.

• For example, you might write: "'Hey, dinner's ready. Thanks for all your help,' Hermione said, rolling her eyes. After 4 hours in the kitchen, the least they could do is eat."
• Another good way to convey sarcasm is to have your angry character say the opposite of what would be expected. For example, if someone lets a door close in your angry character's face, they might say "Thanks for holding the door for me, I appreciate it!"
• Using over-the-top adjectives is another way to convey sarcasm. For example, suppose you have a character who tries to distract your angry character by asking if they've seen a film that was recently released. Your angry character might reply, "Yes, and it was glorious. Now, can we get back to what happened in the kitchen?"

Avoid adjectives that describe emotions.

• For example, instead of writing "Even though it had been 5 years, John was still angry at Susan," you might write "Even though it had been 5 years, John's face still burned when he thought of Susan's betrayal."

Expert Q&A

• What triggers anger? Keep these triggers specific and consistent for each character to make your characters more realistic. [10] X Trustworthy Source American Psychological Association Leading scientific and professional organization of licensed psychologists Go to source Thanks Helpful 0 Not Helpful 0
• Try keeping a journal to document your own emotional experiences. It can help you describe your characters' feelings in a more realistic way. [11] X Research source Thanks Helpful 0 Not Helpful 0

• Avoid clichés. A phrase that's been overused to show anger won't have the impact a more original phrase would. Thanks Helpful 6 Not Helpful 0

You Might Also Like

• ↑ https://www.betterhealth.vic.gov.au/health/healthyliving/anger-how-it-affects-people
• ↑ https://psychcentral.com/blog/everyday-creativity/2016/09/5-ways-to-process-your-emotions-through-writing
• ↑ https://www.psychologytoday.com/intl/blog/rethinking-men/202207/how-the-eyes-express-emotions-and-bodily-states
• ↑ https://positivepsychology.com/express-emotions/
• ↑ https://positivepsychology.com/express-feelings/
• ↑ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3830620/
• ↑ https://www.psychologytoday.com/us/basics/passive-aggression
• ↑ https://www.apa.org/topics/anger/understanding
• ↑ https://positivepsychology.com/benefits-of-journaling/

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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.

Describe Crying in Writing—Without the Clichés

When your characters start to cry in your story, you want readers to be able to sympathize with them. When your characters are pouring their heart out, overcome by grief, or overjoyed at reconnecting with someone who they thought had died, the last thing you want is for your readers to be bored—or worse, rolling their eyes.

And yet, most writers fall short when trying to convey such strong emotions. If you want to write truly powerful emotional scenes, you need to be able to write them in ways no one has ever heard before. Language like “tears welled up in his eyes” or “his voice cracked” just isn’t going to cut it. You need to use language that allows readers to feel exactly what the character is going through, and you can’t do that by relying on plain language or clichés. 

How to Avoid Writing Clichés when Describing Crying

The first method for making your crying scenes more dramatic is to cut out the clichés, but first, you need to be sure you understand what a cliché is. A cliché is a phrase, idea, or story element that has been overused to the point of being annoying. Some examples are:

• When a character screams “noooo!” up at the sky.
• When a character cries in the rain.
• The phrase “crying a river of tears.”
• When a character’s heart “hammers” or “pounds.”
• The phrase “a blood-curdling scream.” 

I’m sure you get the idea. However, traditional clichés aren’t the only things you’ll need to be on the lookout for in your own writing. 

There are certain gestures and physical descriptions that aren’t exactly cliché but are overused to the point that they have a similar effect on readers. For example, take the gesture “she wiped at her eyes.” Wiping tears away is a common reaction to crying. It’s something people actually do, and often . So why is it a problem? 

When a writer uses gestures like a character wiping at their eyes or chewing on their lip, they are attempting to “show” how the character is feeling without explicitly telling readers “she is crying.” In theory, that’s a good thing, but by relying on the same phrases that every writer utilizes, their character will feel like a cookie-cutter copy of every other character who’s ever cried. How many times have you read any of the following?

• She wiped at her eyes.
• He sniffled between words. 
• She sighed heavily, letting her head drop.
• Tears welled up in their eyes.
• A single tear rolled down his cheek. 
• He felt his throat closing up.
• Tears streamed down her face.
• He looked close to tears. 

In general, if you’ve read it before (especially more than once), it’s probably a good idea to find a more creative way to write what you’re trying to convey. Use metaphors and similes to create more visceral feelings, and don’t be afraid to describe things strangely. You can always work backward to make weird imagery more relatable. 

For example, instead of saying that a character’s throat is constricting because they’re about to cry, say that it’s like they’re struggling to swallow down a still-beating heart. 

That imagery is slimy, visceral, and uncomfortable, but it likens itself quite well to the sensation of anxiously forcing down tears. Emotions can be uncomfortable, so don’t be afraid of using uncomfortable imagery to describe them. 

Writing Different Types of Crying

People don’t just cry when they are sad. The situations in which characters can shed tears are wildly diverse, ranging from receiving a thoughtful gift to watching a horrible tragedy unfold before them. Characters can cry because they are joyful, frustrated, angry, disappointed, confused, relieved, and a number of other emotions. The tone of your description should match how the character is feeling.

Not only are there different emotions behind a character’s tears, but there are also different levels of intensity to each emotion. The words you use should be reflective of that too. The words “weeping” and “sobbing” are not perfect synonyms for the word “crying.” If a character is sobbing, they are going to be gasping for air, overcome with emotion—they may even curl up or heave.

If your character starts sobbing after a minor inconvenience, readers aren’t going to feel bad for them. Rather, they’ll just be annoyed by the character’s overdramatic reaction. Take that same reaction, however, and apply it to a scene in which another character dies, and suddenly, it becomes powerful.

However, human emotions are complex and varied, so your characters could have many other reasons for breaking down besides just “sadness.” In addition to that, emotions are rarely expressed as separate experiences. Rather, emotions overlap and twist together, making them much harder to portray in the written word. 

If you want some quick tips and pointers for portraying complex emotions, I cover the topic more in-depth in another article: How to Describe Facial Expressions in Writing . For now, let’s dive into how different emotions can alter a character’s behavior as they cry. 

Sadness is a broad emotion, so the context for why your character is crying is important for understanding how they are crying. The way someone cries when watching a sad movie is going to be very different from how they cry after receiving sad news.

In general, when a character cries out of pure sadness, with no other emotions influencing their behavior, they are likely to cry quietly. Sadness is a numbing emotion, so characters who cry out of sadness would be rather subdued. Common responses include curling up in a ball, chewing on their lower lip, and prolonged periods of simply not moving. Tears may be wiped away, or allowed to freely flow down the character’s face.

If you want to give your readers insight into how the character is feeling as they are crying, focus on the numbing aspect of sadness. Your character may feel physically and mentally deadened, tired, and even nauseous. They may also feel isolated from others as if they are alone in their suffering and no one understands, even if that isn’t necessarily true. Depending on the character, they may seek comfort from others, or withdraw to compose themself alone. 

Happy Crying

When a character is crying out of happiness, their response is going to depend on the context as well. Crying after receiving a big surprise, such as an expensive gift or an acceptance letter to a great college, is going to look different from a character crying on their wedding day. 

When a character is crying happy tears, they are likely to gasp frequently, cover their mouth with their hands, and speak in a high-pitched tone. They are also likely to emote exaggeratedly with their body, such as bowing over, bouncing up and down, fanning their face with their hands, or clapping. In more subdued settings, such as a wedding, the character may restrain their emotions and simply cry openly with a sincere smile on their face. 

Feelings of happiness are difficult to describe, but that doesn’t mean you should shy away from giving readers insight into the character’s mind. When a character cries out of happiness, they are likely going to be overwhelmed with joy, excitement, or even disbelief. Characters are also much more likely to cry happy tears if they think they don’t deserve whatever is making them happy. 

Angry Crying

Anger doesn’t always lend itself to tears, but when it does, it has specific and predictable effects on a character’s behavior. A character may cry angry tears when they are being treated unfairly, are arguing with someone, or have been hurt emotionally.

When a character gets angry, that triggers an adrenaline reaction (their “fight-or-flight” response to stress or danger). Adrenaline drives how they behave while they cry, and it may cause them to tremble, raise their voice, become red in the face, sputter, and breathe much faster than normal. Depending on the character, they may wrap their arms around themself defensively, curl their hands into fists, or lash out with aggressive gestures. 

If you want to describe how that feels from the character’s perspective, a good theme to focus on is temperature. Anger is often described as “searing” or “boiling,” and it can feel as if they are burning up inside. When anger drives a character to tears, it is usually because their emotions have reached a breaking point and must be released. 

For more tips on writing about anger, take a look at Writing a Character with Anger Issues .

Embarrassed Crying

Embarrassment by itself is often enough to motivate a character to cry. Whether they have been humiliated in front of their friends, made an embarrassing mistake, or said something stupid without thinking, embarrassment can result in a strong emotional response. If handled well, you may also allow your readers to feel your character’s pain, through the phenomenon of second-hand embarrassment . 

A character crying out of embarrassment is, above all else, going to hide away from others. They may cover their face with their hands, curl up as small as possible, and try to withdraw from other people. Though it depends on the character’s personality, most of the time, they will seek to be alone out of fear of being judged for whatever caused the embarrassment.

To give your readers insight into how the character is feeling, you should allow your character to overthink how others would respond to witnessing the embarrassing event. They may feel shame and fear, and they are likely going to feel quite self-conscious about themself and their abilities. They may even feel ashamed of their reaction to the embarrassment, and try to hide the fact that they are crying. 

Scared Crying

Not everyone cries when they are frightened, but it is not an unusual response. Some characters may cry after being spooked for a prank, while others may only break down when they genuinely fear for their life.

When a character cries out of fear, they will experience a rush of adrenaline (just like with angry crying!) They will experience tears along with the typical reactions to adrenaline, like increased heart rate, a flushed face, and faster breathing. They are also likely to freeze in place, stammer, tremble, and whine. 

Fear is a powerful emotion, and it can dominate a character’s thoughts and actions. When a character is afraid, they might not even be aware of their tears until after the danger has passed. Rather, the character is going to be focused on what they are doing to eliminate or escape from whatever they are afraid of.

Pained Crying

Pain is another common reason for characters to shed tears, and it is often unavoidable even for ordinarily stoic characters. For some, crying might be their response to any amount of pain or discomfort, while others may need to be pushed to the point of agony before they shed tears. Either way, pained crying can look different depending on the type of pain and the character affected by it. 

When a character is crying because of acute pain, such as a sudden wound, they are likely to cry out or groan loudly, curl up in a ball, or exhibit reactions similar to scared crying. However, when a character has been experiencing chronic pain for some time, they may simply break down from the exhaustion of having to put up with that all the time.

It can be tough to get into the head of a character in pain. Pain can overshadow other thoughts and feelings, or intensify negative emotions like anger, fear, or sadness. If your character is afraid for some reason, either of whatever hurt them, for the safety of their friends, or for their own survival, now would be a good time for them to hyper-fixate on that fear—and their own inability to do anything about it. 

Disappointed Crying

Disappointment is an emotion that includes elements of sadness, anger, and even embarrassment. When a character was looking forward to something, such as a gift, a trip, an event, or something else, and is let down, they express disappointment that the situation doesn’t go as they envisioned it. They may be angry at whatever messed up their plans, angry or ashamed at themself for being so let down, or simply sad that they didn’t get what they want.

A character crying because they are disappointed is likely to be pouty and subdued, but they are also likely to exhibit many of the same behaviors as angry, sad, or embarrassed crying. They might hide away, start yelling, or seek comfort from others. It all depends on the character, the situation, and what went wrong.

After being disappointed, a character is probably going to be thinking about what happened long after the situation is over with. Disappointment is a slow-burn emotion, and your character is probably going to feel pretty bummed out for a while even after they stop crying. 

Frustrated Crying

Frustration is an overwhelming emotion, and crying because of it can often worsen that initial frustration. Often, frustration is the result of a character getting fed up with their own inability to achieve something, whether that’s beating a hard stage in a game, convincing someone of something in a debate, or being able to overcome their personal struggles.

Characters become frustrated when something they worked hard for isn’t working out. When this pushes a character to tears, they might start behaving angrily, or their behavior could mirror that of sad crying. Often, a character who is frustrated will lash out violently, hit or throw things, and then sit down to cry. This pattern is almost always followed: the character lashes out to release their initial frustration, then gives up and begins to cry more passively. It is also common for a person to harm themself when they lash out, such as by pulling their hair or hitting something too hard. 

Frustration can feel like an eruption of emotion. It builds up over time and is then released all at once. This can lead characters to start crying suddenly, with very little warning before it happens. 

Panicked Crying

Panic can bring a character to tears in the blink of an eye. When a character loses something they treasure, finds themself in an unsafe place, or encounters a person who has harmed them in the past, they may begin to panic. Past trauma is a common reason many characters have for breaking down into panicked tears, but characters with anxiety and panic disorders can experience panic attacks with no clear triggers. 

When a character is panic crying, they are going to be hyperventilating, and they may have a frenzied look, pace around wildly, rock back and forth, or clutch onto someone or something for comfort (or protection). They are also likely to scream, shriek, or whimper. In a lot of ways, this type of crying manifests very similarly to scared crying, but with much more restless energy.

Panic is an emotion that can overshadow all other emotions and rational thought. A panicking character will feel numb and lightheaded, and they may have a difficult time staying upright without someone or something to lean on. They may have a difficult time stringing words into a coherent sentence, and they’ll likely have a much harder time thinking of solutions to problems, formulating complex thoughts, and rationalizing their behavior. 

Panic isn’t just experienced; it takes over a character’s thoughts and behavior completely. 

Hopeless Crying

Hopelessness is a straight path to tears. When a character believes that nothing matters, they cannot save the world (or their loved ones), or that they simply cannot go on the way they have been living, they may begin to cry hopelessly. 

Hopeless crying goes beyond sadness. When a character is feeling truly hopeless, they may become lifeless, apathetic, or even downright catatonic. They will not bother to wipe away tears, so make a point to draw attention to the tears dripping off the end of their nose or splattering on different surfaces. Many surfaces, such as clothing, wood, and concrete, change color when they are wet, so if your character is crying onto a surface like that, you could also comment on the dark spots that appear with each tear that slips off the character’s face. 

A character who is feeling hopeless may feel as if they are alone in their struggles, and they can’t do everything themself. They may feel as if they have been abandoned, let down, or held back, and that they are powerless. This sense of powerlessness can cause a character to simply give up and shut down, leading to hopeless crying. 

Writing Dialogue when a Character is Crying

When writing dialogue for a character who is crying, it is important to remember to not go overboard. Once you have established that the character is crying, you shouldn’t have to do much extra work with the dialogue to further convince your readers of that. With that said, if you just type dialogue completely normally, that may come across as jarring if the tone doesn’t match how the character is feeling. 

The best way to indicate that a character is crying as they are speaking is to break the dialogue up to slow it down. One way you can do that is with the use of ellipses, like this:

“I don’t know… Maybe it’s just… better this way.” 

However, this is really easy to overdo. Make sure you read your dialogue out loud to ensure that the pauses sound natural for the character who is speaking.

Another option is to break up the dialogue with narration that reflects the other things the character is doing as they are speaking. These interruptions are called “ action beats ,” and they are a helpful little tool for controlling the pace at which your readers move through dialogue. Here’s an example of a beat in dialogue, using the same example as above:

“I don’t know,” Nate sighed, pausing to wipe his nose on his sleeve. “Maybe it’s just better this way.”

You might be tempted to misspell words as the character is speaking to emphasize the fact that they are slurring words together as they cry, but do not do that. Either state that the character is slurring their words, or that the other characters had difficulty understanding them. Misspelling words to look slurred is awkward, and it almost never feels authentic. Not to mention, that can make it difficult for readers whose first language isn’t the one you’re writing in. 

How to Describe a Character Trying Not to Cry

Sometimes, a character who feels compelled to cry may want to hold it in, either because they are afraid of what others would think, too proud to be seen crying, or because it isn’t socially acceptable in a particular setting. If you can show your readers how your character is fighting back tears, instead of simply telling them that, the scene will be much more emotionally charged. 

When a character is trying not to cry, they may employ several techniques to try to keep the tears from coming. Here are some options you can use to indicate that a character is trying not to cry:

• They could avoid eye contact with others, or look upward or downward. Alternatively, they could close their eyes.
• They could focus on keeping their breathing steady and slow, so much so that they miss what others say to them. 
• Their face may become red.
• They may avoid speaking, out of fear that their voice could crack.
• They may bite their lip, fidget with something, or seek other sensory distractions such as chewing on something, picking at their nails, or humming. 
• They may try to hide their sadness by expressing a different emotion, such as anger or happiness. 
• They may try to think of something else to distract themself. 

Remember to keep the character’s personality, and their reason for being upset, in mind as you are writing this scene. No two characters are going to react to the same situation in the same way. In addition to that, the same character who would ordinarily stay quiet in one situation may lash out violently in a different one. 

How to Describe Fake Crying

On the opposite end of the spectrum, you may have characters who aren’t upset, but want (or need) to shed tears anyway. People have many reasons for wanting to fake tears, including connecting with others, expressing remorse, getting attention, or getting themself out of trouble. However, the most common reason people have for fake crying is manipulation. It’s much easier to get someone to do something for you if you shed a few tears first. 

Here are some quick examples of things you can include to show that a character is fake crying:

• They may squeeze their eyes shut tightly, trying to force out tears.
• They’ll likely scrunch up their face, and exaggerate their expression to look sad (such as pulling down the corners of their mouth, pulling their eyebrows closer together, and potentially pouting their lips).
• Their nose will not be running, and they won’t have any difficulty with breathing. If they want to be convincing, they will have to consciously sniffle and force their breathing into a more irregular pattern. However, their sniffles won’t sound the same without their nose running, so keep that in mind. 
• They are likely to hide their face with their hands since it will take them much longer to produce tears—if they can manage to do that at all.
• They are much more likely to wail, cry, mumble, or make any other distressed noise than someone who is actually crying. 
• They will be working harder at keeping their performance consistent, while someone who is actually crying may express a variety of other emotions as they try to get a grip on themself. It’s not uncommon for someone who is genuinely upset to express nervousness, fear, anger, and even a smile. 
• They will exaggerate everything they do to try to be more convincing. 
• They will be able to stop “crying” suddenly, whereas someone who is actually upset is going to need some time to pull themself together. 

If your story is told from the perspective of the character who is faking tears, or from an omniscient perspective, then you have an additional advantage. You could give readers insight into what the character is thinking, which you could utilize in a couple of different ways. You could be explicit, and simply show readers that the character is thinking of how to be more convincing, or you could simply show that their thoughts are clear and unrelated to what they should be upset about. Even if you don’t state it, your readers should be able to figure out that the character is faking if you give them enough clues. 

Write Crying Realistically

The most important thing to keep in mind when you are writing about characters crying is that strong emotions are not pretty. No one looks good when they are crying—they just don’t .

Here are some examples of things that happen when a character cries:

• Their face will be red and scrunched up.
• Their nose will be running.
• They’ll be sweaty.
• Their eyes will be bloodshot and puffy.
• They’ll produce more saliva.
• Their glasses may fog up.
• Tears (and snot) will get on everything.
• Their voice will crack, change pitch, and rasp.
• They may stutter or become incoherent.
• They may drool. 

When you’re describing a character crying, don’t be afraid of making your readers a bit uncomfortable. Crying is gross , so that’s how you should describe it if you want to do so realistically. If you want more tips about portraying emotion (or anything else) realistically, you should check out Show, Don’t Tell: What it is and How to Write it .

Finally, I’ll end with one last piece of advice. Your character’s reactions to different situations and events can reveal a lot about them. If they overreact in a particular situation, such as encountering a rude stranger, getting lost, or misplacing their phone, you can use that to reveal more about the character’s past. Their reaction to a rude stranger could reveal that they were hurt by someone in the past, while breaking down at the notion of being lost could suggest that they struggle with anxiety. Utilize those reactions to help you tell their story. 

Best of luck with your stories, writers!

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Anthelionryu New Member

How to write a prolonged yell or scream..

Discussion in ' Word Mechanics ' started by Anthelionryu , Apr 24, 2013 .

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I searched for this through the history. If it's been talked about before I couldn't find it. Anyway, I recently stumbled on a thread that said it was bad writing to use all caps for screaming. I was really glad to have found the discussion because I'd used this in quite a few places in the story I'm currently writing. Then, as I was fixing these occurrences in my writing I realized that in some of these yelling/screaming instances that I'd RUUUUUNNNNNN out the word to convey that it was drawn out. So... what say you? Is this bad? If so, how would you go about showing that this was a prolonged action?  

Norm New Member

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I don't see anything wrong with that approach.  

T.Trian Overly Pompous Bastard Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I don't usually put screams in dialogue, but show them in action, maybe describe how it sounds or how it feels, whatever to color it a bit. Haven't really used caps since my and Kat's writing project was in its infancy. We just don't like the look, and I also haven't really warmed up to putting a dozen letters in the middle of a word to show a long yeeeeeeeeeeeell. At most I use two, and even then it's more often in something like "aww," instead of blood curdling screams. No offense intended to anyone's preferences, it's just that in my eyes caps and elongated words look tacky. Up to personal taste, I suppose. I have no idea what publishers or agents think about this.  

minstrel Leader of the Insquirrelgency Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I've never written a scene in which someone screams for a prolonged period. However, I think I'd just spell the word correctly ("Run!") and leave the rest up to the reader's imagination. The reader will imagine just how the character utters the word. If I've written my character well enough, and described my scene well enough, the reader will hear the scream approximately the way I do. If he doesn't, that's okay too - he'll imagine it the way it works best for him. Trust the reader's imagination; often it's even better than yours.  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Norm, Trian, Minstril, thank you for all the responses. Trian, the scream is one character yelling at another character to run. There is action in the scene as well but I can't get away from having the scream in the dialogue. As far as the caps thing... I'm still a novice writer and I was fortunate to stumble on that thread. Pretty much everyone says the same as you. They don't like the caps either. Minstril, excellent reasoning. ...put me over the top. In the end it's about letting the reader use their imagination. The extra letters are going away.  

Selbbin The Moderating Cat Staff Contributor Contest Winner 2023

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); RUUUUUUUUN! Is fine  

blackstar21595 New Member

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); in real life, when you tell someone to run, do you say "Run!" or do you say "RUUUUUUUUUUUUUUUUN?"  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); LOL Selbbin... your signature is hilarious.  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Would I be violating the rules if I posted the passage to clarify the scene?  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Anthelionryu said: ↑ Would I be violating the rules if I posted the passage to clarify the scene? Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); It turned and looked at Ethan. Her fear peaked and panic overtook her. She burst out of her bunker yelling at the top of her lungs, "Run!" as opposed to what I had previously... It turned and looked at Ethan. Her fear peaked and panic overtook her. She burst out of her bunker yelling at the top of her lungs, "Ruuunnnn!"  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Drop the extra letters that don't create an extra sound. People yell ruuuuuun! But they never carry the 'n' and yell: ruuunnnnn! In summary, stick to phonetics and only extend the vowels. Attaaaaaaaack!  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Selbbin said: ↑ Drop the extra letters that don't create an extra sound. People yell ruuuuuun! But they never carry the 'n' and yell: ruuunnnnn! In summary, stick to phonetics and only extend the vowels. Attaaaaaaaack! Click to expand...

thebigcricket New Member

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); In your example, I definitely prefer the second option (Ruuunnnn!). I agree with minstrel that the reader's imagination can do A LOT of work, but in your first example, my imagination was trumped by the very short word that "run" is. I wanted to hear in my head "Ruuunnnn!" but when I read "Run!" I heard exactly that: "run" and nothing more. I think it's because what she yells is just one word, and that one word is just three letters. Were it, "Go! Go! Everybody go!" I think the reader's imagination would stretch it out.  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); thebigcricket said: ↑ In your example, I definitely prefer the second option (Ruuunnnn!). I agree with minstrel that the reader's imagination can do A LOT of work, but in your first example, my imagination was trumped by the very short word that "run" is. I wanted to hear in my head "Ruuunnnn!" but when I read "Run!" I heard exactly that: "run" and nothing more. I think it's because what she yells is just one word, and that one word is just three letters. Were it, "Go! Go! Everybody go!" I think the reader's imagination would stretch it out. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Haha, writing is such a %#$&. But truly, I cannot see any reason to not use the elongated version. What reason is there? Because it looks yucky? silly? childish? ugly on the page? All very weak reasons, I think. No reader is worried about such nonsense, only writers. The reader is lost in the fiction, and "Ruuun!" helps that fiction feel alive.  

Gallowglass Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I'm with T.Trian on this one. It looks tacky, but more importantly if reeeeeeeeeeeeeeeeeeaders see too many vowels it can break the flow of a sentence. Like it just did. It's easier just to describe the sound as a 'grating wail,' or with some other adjective that implies length.  

shadowwalker Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Caps and added vowels look pretty amateurish. I suppose in a children's book, one might find that, but I haven't seen it in adult books and I read a lot of action/adventure/mystery/genres with lots of running and screaming.  

Jhunter Mmm, bacon. Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I have never seen: "Attaaaack!" or "Ruuuun!" outside of a comic book/graphic novel. I don't really think it works well in literature. "Attack!" and "Run!" convey all that you need in my opinion.  

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); Ok... I've been swayed back to not extending the word. I just need to figure out how to word it so that it's apparent. Thank you all for your input. This has been very helpful.  

jannert Retired Mod Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I don't see anything wrong with extending the word, although I agree it's the vowel that should be extended. It won't confuse the reader or look too weird on the page, if you only extend it by a few vowels. "Ru-u-u-n!" is another option. Obviously "Ruuuuuuuuuuuuuun" looks silly, here on its own, but it might work! "Run!" conveys the meaning, but doesn't convey the sound of the scream, yell or shout. You'd have to include "he screamed," shouted or whatever, to get both the meaning and the sound across. I'd say do what works best. Yes, it would probably be a good idea to post it to us, in context. What works in one instance might not work so well in another. How many times have you seen "Waaaah!" written into a piece of prose? Works a lot better than "Wah, he cried!"  

KaTrian A foolish little beast. Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I'd keep it as "run!" It's just... no. To me it'd feel like you're directing the reader too much to hear what you hear. Sure, it's your novel, but in my opinion the author has to allow the reader to contribute to the story. It's like a shared project... oh, I digress, but the point being I wouldn't use caps or elongated vowel constructions, and I hardly see other published writers using them either. Sans comics, as JHunter pointed out.  

joanna Active Member

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); I just don't like writing that tries too hard & is melodramatic, and caps and elongated words strike me as both. It would be better with just the word itself and perhaps a description of how it was shouted. As in, "Run," she screamed in alarm, drawing out the word as she got to her feet.  

madhoca Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_caa40255b5dc32cd37c1b8e920631f7b'); }); It can also be done: "Ru--u--n!" using an extra letter and en-dashes (which I can't show here).  

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A Guide to Descriptive Writing

by Melissa Donovan | Jan 7, 2021 | Creative Writing | 8 comments

What is descriptive writing?

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

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

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

What is Descriptive Writing?

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

The term descriptive writing can mean a few different things:

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

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

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

How Much Description is Too Much?

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

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

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

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

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

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

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

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

Descriptive Writing Tips

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

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

Here are some general tips for descriptive writing:

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

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

10 descriptive writing practices.

How to Practice Writing Description

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

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

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

Descriptive Writing

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

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

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

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

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

Thank you for this. R.G. Ramsey

You’re welcome!

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

You’re welcome, Bella.

Hello Melissa

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

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

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

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

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

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

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

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

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

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

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How to Describe Voices in Writing (300+ Words & Examples)

Describing voices accurately in writing can transform your story or screenplay, giving your characters depth and making them feel real to your readers.

Here is how to describe voices in writing:

Describe a voice in writing by identifying elements like tone, pace, timbre, volume, and accent. Use adjectives for depth or speed. Consider the voice’s emotional state, age, and physical circumstance. Create a better reading experience by differentiating the voices in your story.

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

How To Describe Voices in Writing (The Elements You Need To Know)

Table of Contents

To portray voices effectively in writing, it’s crucial to grasp the various elements that constitute a voice.

Let’s delve into some of these vital components:

The tone of a voice reveals the emotional undercurrents beneath the words spoken

It’s not just what the character says, but how they say it that provides context and clues to their emotional state.

Tone can encompass a wide range of emotions, from sarcasm and anger to affection and impatience.

For instance, a character’s voice can drip with venom in their anger, quaver in their anxiety, or soften in their affection.

Example: “ His tone dripped with scorn as he responded to her, his words carrying an edge sharper than a sword. “

Example: “ Her voice softened, the gentle lilt carrying a tender affection that warmed the room. “

The pace or speed of a character’s speech can reveal much about their personality, mood, and state of mind.

A character speaking at a fast pace might indicate excitement, anxiety, or impatience.

In contrast, a slow-speaking character might come across as more contemplative, calm, or possibly confused.

Example: “ His words tumbled out in a fast-paced torrent, echoing the racing thoughts within his mind. “

Example: “ She spoke slowly, her measured pace reflecting the weight of her words. “

Timbre is the unique quality or texture of a voice that differentiates it from others.

It adds color and depth, making a voice sound velvety, gravelly, husky, or raspy. Timbre can convey a voice’s warmth or harshness, and sometimes, it can even provide a physical feeling to the listener.

Example: “ His voice had a gravelly timbre, reminiscent of rocks grinding together. “

Example: “ Her voice was velvety, a soft timbre that felt like a warm blanket on a cold night. “

The volume at which a character speaks can provide insight into their emotional state, intentions, or personality traits.

A loud voice can indicate excitement, anger, or an attempt to dominate, while a soft voice might suggest shyness, secrecy, or gentleness.

Example: “ Her voice was a barely audible whisper, as if sharing a precious secret. “

Example: “ His voice thundered across the room, demanding attention from all. “

How To Describe Specific Types of Voices in Writing

In this section, we’ll cover how to describe many different types of voices in writing.

Sometimes you want to describe the voice of a man or woman or child. Other times, you might want to describe a deep, high-pitched, or melodious voice.

Keep reading to find out how (with examples).

How to Describe Male Voices in Writing

Male voices, typically lower in pitch, can be described with a variety of adjectives, such as deep, gravelly, husky, or rough.

Physical reactions can also enhance the description.

Example: “ His voice, like a bass drum, resonated in her chest, leaving her with a strange fluttering sensation. “

Example: “ The velvety texture of his voice was soothing, lulling her into a state of tranquillity. “

How to Describe Female Voices in Writing

Female voices often have a higher pitch and can be portrayed as soft, melodic, shrill, or husky. By integrating the character’s emotional state, you can add nuance to the voice description.

Example: “ Her voice was like a flute, high and melodious, filling the room with a lively cheer. “

Example: “ Her husky voice carried a distinct warmth, wrapping around him like a comforting embrace. “

How to Describe a Deep Voice in Writing

A deep voice can portray a range of characters and moods, from authoritative figures to comforting allies or menacing villains.

Deep voices can be described as resonant, rumbling, or sonorous.

Example: “ His deep voice rolled over her like a wave, carrying an authority that demanded respect. “

Example: “ His voice was a low rumble, like distant thunder, carrying an underlying threat. “

How to Describe a Fast Voice in Writing

A fast voice can suggest a range of emotions and personalities, from anxiety and excitement to impatience.

Descriptions can include words like rushed, hurried, or jabbering.

Example: “ His words were a rapid-fire barrage, revealing his barely controlled excitement. “

Example: “ She jabbered quickly, her words bouncing around the room in her nervousness. “

How to Describe a Loud Voice in Writing

A loud voice can portray dominance, excitement, or panic. It can be described as booming, deafening, or blaring.

Example: “ His booming voice echoed in the room, a loud proclamation of his dominance. “

Example: “ Her voice was a deafening roar, mirroring the chaos and panic she felt within. “

How to Describe a Soft Voice in Writing

A soft voice can indicate a variety of moods, including gentleness, fear, or mystery.

Descriptions can include words like hushed, whispering, or murmuring.

Example: “ His voice was a soft murmur, a soothing balm over her frayed nerves. “

Example: “ Her whispering voice held a note of mystery, a secret waiting to be unveiled. “

How to Describe a Singing Voice in Writing

A singing voice can encapsulate a range of emotions, from sheer joy to profound sorrow.

Descriptions can include words like harmonious, melodious, lilting, or crooning.

Example: “ His voice, a melodious baritone, wove a rich tapestry of sound, filling the air with a soulful melody. “

Example: “ Her lilting voice danced through the air, each note a joyous celebration of life. “

How to Describe a Crying Voice in Writing

A crying voice, often deeply emotional, can be portrayed as choked, sobbing, wailing, or whimpering.

Example: “ His voice came out in choked sobs, the pain apparent in each word. “

Example: “ Her whimpering voice was heart-rending, each cry echoing her despair. “

How to Describe a High-Pitched Voice in Writing

A high-pitched voice can contribute to various character portrayals, from bubbly and enthusiastic personalities to those filled with fear or anxiety.

This voice type can suggest youth, as younger individuals often have higher-pitched voices, or perhaps someone who is excited or scared.

Descriptions might include words like squeaky, shrill, or piercing.

Example: “ Her voice was a shrill siren, each word piercing the air like a needle. “

Example: “ His voice, high and squeaky, was filled with unabashed enthusiasm, like a child on Christmas morning. “

How to Describe a Nasal Voice in Writing

A nasal voice, where the sound seems to resonate from the nose rather than the mouth or throat, can be an interesting trait for a character.

This can be used to emphasize a character’s comical, annoying, or unique personality.

Descriptions might include words like twangy, whiny, or braying.

Example: “ His voice had a nasal twang, each word sounding like it was squeezed out of a tight space. “

Example: “ Her voice was a nasal whine, a sound that grated on their nerves. “

How to Describe a Raspy Voice in Writing

A raspy voice, rough and hoarse, can suggest a character’s age, health, or emotional state.

This type of voice can denote an old or weary individual, someone who’s been shouting or crying, or perhaps someone who’s ill.

It can be described as hoarse, gravelly, or scratchy.

Example: “ His voice was a gravelly rasp, a testament to the many years he’d weathered. “

Example: “ Her voice emerged as a hoarse whisper, the aftermath of hours spent in tearful conversation. “

How to Describe an Emotionless Voice in Writing

An emotionless or monotone voice can reveal a lot about a character’s mindset or state of being.

This can denote someone who’s indifferent, in shock, or emotionally withdrawn. It could also be a character who’s pragmatic or analytical in nature. Descriptions can include words like flat, lifeless, or monotonous.

Example: “ His voice was flat, void of any emotion that might betray his thoughts. “

Example: “ Her voice held a monotonous drone, a dull sound that mirrored her detached demeanor. “

How to Describe a Whispering Voice in Writing

A whispering voice is soft and hushed, often used when a character wants to convey a secret or speak without being overheard.

It can also be indicative of fear, romance, or intimacy.

Words to describe a whispering voice might include hushed, muted, or breathy.

Example: “ His voice was a hushed whisper in the dark, a gentle brush against her ear that sent shivers down her spine. “

Example: “ Her whispering voice was barely audible, carrying an air of secrecy that tingled his curiosity. “

How to Describe a Melodious Voice in Writing

A melodious voice often has a musical quality, whether the character is singing or speaking.

It’s the type of voice that’s pleasant to hear, often used to describe a character who is charming or soothing.

Descriptions might include words like musical, harmonious, or lyrical.

Example: “ Her voice was harmonious, each word a distinct note that composed a beautiful symphony. “

Example: “ His voice was a lyrical song, the soothing melody washing over her like a gentle tide. “

How to Describe a Bellowing Voice in Writing

A bellowing voice is loud and resonant, often used when a character is yelling or expressing strong emotions like anger or excitement.

It can also convey a sense of authority or power.

Words to describe a bellowing voice might include booming, roaring, or thunderous.

Example: “ His voice bellowed across the battlefield, a roaring command that rallied the troops. “

Example: “ Her voice boomed through the lecture hall, an authoritative echo that demanded attention. “

How to Describe a Child’s Voice in Writing

A child’s voice is typically high-pitched and clear, often reflecting innocence, excitement, or curiosity.

Depending on the child’s age, their voice might have a lisping or stammering quality.

Descriptions might include words like squeaky, clear, lisping, or stammering.

Example: “ His voice, high and clear, was filled with the infectious excitement that only a child could muster. “

Example: “ Her voice was a soft squeak, a lisping sound that underscored her tender years. “

How to Describe an Elderly Voice in Writing

An elderly voice can reflect the wisdom and experiences of a lifetime.

Depending on the character’s health and vitality, their voice might be strong and clear or frail and quavering. Descriptions might include words like quavering, frail, shaky, or wise.

Example: “ His voice was shaky, a fragile echo of the robust sound it once was. “

Example: “ Her voice held a wise and steady tone, the weight of years echoing in each word. “

How to Describe a Smooth Voice in Writing

A smooth voice often conveys a sense of calm, elegance, or seductiveness.

It can suggest a character who is self-assured, sophisticated, or soothing.

Descriptions might include words like velvety, silky, or soothing.

Example: “ His voice was velvety smooth, each word a gentle caress that soothed her worries. “

Example: “ Her silky voice flowed through the room, like a comforting balm over their tired souls. “

How to Describe a Strained Voice in Writing

A strained voice is often used when a character is under emotional or physical distress.

It can suggest pain, anxiety, or exertion. Descriptions might include words like tight, tense, or choked.

Example: “ His voice was tense, the strain betraying his efforts to maintain composure. “

Example: “ Her voice came out in a choked whisper, each word a battle against the tears welling up in her eyes. “

How to Describe a Crackling Voice in Writing

A crackling voice often indicates age, nervousness, or emotional instability.

This can be used to describe a character going through puberty, an elderly character, or a character in a highly emotional state.

Descriptions might include words like breaking, unsteady, or wavering.

Example: “ His voice was breaking, each word wavering as if treading on unstable ground. “

Example: “ Her voice crackled like dry leaves underfoot, the years etched into every syllable. “

How to Describe a Stern Voice in Writing

A stern voice usually conveys authority, seriousness, or disapproval.

This voice type could be used to describe a parent, a boss, or anyone in a position of power.

Descriptions might include words like harsh, firm, or forbidding.

Example: “ His voice was harsh, a stern command that left no room for argument. “

Example: “ Her firm voice echoed her resolve, a testament to her unyielding stance. “

How to Describe a Gentle Voice in Writing

A gentle voice often suggests kindness, warmth, or care.

It’s typically associated with characters who are compassionate, patient, or soothing. Descriptions might include words like soft, warm, or tender.

Example: “ His voice was soft, each word a gentle caress that calmed her restless heart. “

Example: “ Her voice held a tender warmth, a soothing melody that eased their worries. “

Descriptive Words for Voices in Writing

The table below includes 30 types of voices and a collection of unique descriptive words for each type.

I hope it provides a handy reference for writers seeking to add depth and nuance to their character portrayals.

Before you go, here is a good video about how to describe a person’s voice (with audio examples):

Tools to Describe Voices in Writing

Sometimes you want a little more help with describing voices (or anything else).

Here are some tools that I recommend:

Final Thoughts: How to Describe Voices in Writing

By learning to utilize a wide variety of voice descriptions in your writing, you can create a captivating soundscape that enriches your narrative and breathes life into your characters.

Your words can help your readers not only see your characters but also hear them, deepening their engagement with your story.

Related Posts:

• 400+ Words to Describe a Flower Garden: Best Writers Guide
• How to Describe Pain in Writing: 45 Best Tips with Examples
• How to Describe a Sunset in Writing: 100 Best Words & Phrases
• 55 Best Demonic Words for Fiction (Meanings & Examples)

106 Ways To Describe Sounds – A Resource For Writers

Writers know that using the senses is a great way to make stories come alive. Use this comprehensive list of words that describe sounds when you write.

According to Oxford Dictionary, to hear is to ‘perceive with the ear the sound made by (someone or something)’.  Sounds  are ‘vibrations that travel through the air or another medium and can be heard when they reach a person’s ear’.

You have to use the five senses when you write. Readers want to experience what your characters see, smell, hear, taste, and touch. Using the senses is one of the best ways for writers to learn how to show and not tell.

Writers Write is a resource for writers and we have written about words that describe taste , smell , and  touch  in previous posts. (We even have one for words that describe colours .) In this post I have included words that describe sounds.

106 Ways To Describe Sounds

General words describing sounds.

• audible – a sound that is loud enough to hear
• broken – a sound that has spaces in it
• emit – to make a sound
• grinding – a sound of one hard thing moving against another
• hushed – a sound that is quiet
• inaudible – a sound that is difficult to hear
• monotonous – a sound that is always the same and never gets louder or quieter, or higher or lower
• muffled – a sound that is not easy to hear because it is blocked by something
• plaintive – a sound that has a sad quality
• rhythmic – a sound that has a clear, regular pattern
• staccato – a sound where each word or sound is clearly separate

Describing Pleasing Sounds

• dulcet – soft and pleasant
• lilting – a sound that has a rising and falling pattern
• listenable – easy to listen to
• mellow – a soft, smooth, pleasant sound
• melodic – beautiful sound
• musical – sounds like music
• pure – a clear, beautiful sound
• rich – a sound that is strong in a pleasant way
• soft – quiet and peaceful
• sonorous – a sound that is deep and strong in a pleasant way
• sweet – a pleasant sound

Describing Noisy Sounds

• at full blast – as loudly as possible
• almighty – used for emphasising how loud something is
• brassy – a sound that is loud and unpleasant
• deafening – a sound so loud you cannot hear anything else
• ear-splitting – extremely loud
• explosive – a sound that is loud and unexpected
• howling – a continuous, low, loud noise
• insistent – a continuous, loud, strong noise
• loud – a sound that is strong and very easy to hear
• noisy – a sound that is full of  noise
• percussive – a sound that is short, like someone hitting a drum
• piercing – a sound that is very  loud, high, and unpleasant
• pulsating – strong, regular pattern
• raucous – rude, violent, noisy
• resounding – a sound that is loud and that continues for a while
• riotous – lively and noisy
• roaring – a deep, loud noise
• rowdy – noisy and causing trouble
• sharp – a sound that is sudden and loud
• shrill – a sound that is loud, high, and unpleasant
• thundering – extremely loud
• thunderous – loud
• tumultuous –  a sound that includes noise, excitement, activity, or violence
• uproarious – extremely noisy

Words That Help You Show And Not Tell

Many of these words that help you show and not tell are examples of onomatopoeia . These words imitate natural sounds. ‘It creates a sound effect that mimics the thing described, making the description more expressive and interesting.’

Here are some examples:

• The bees buzzed outside my window.
• The wind sighed .
• The leaves crackled and crunched under his feet.

Use this list to make your writing come alive.

• babble – a gentle, pleasant sound of water as it moves along in a river
• bang – to move, making loud noises
• beep – a short high sound or several short high sounds
• blare – to make a loud and unpleasant noise
• blast – to make a loud sound with a car horn
• bleep – a short high sound or several short high sounds
• boom – to make a deep loud sound that continues for some time
• caterwaul – an unpleasant loud high noise
• chime – a high ringing sound like a bell or set of bells
• chink – a high ringing sound when knocked together, or to make something do this
• clack -to make a short loud sound like one hard object hitting against another
• clang – a loud, metallic sound
• clank – a short, loud sound
• clash – a loud, metallic sound
• clatter – a series of short, sharp noises
• click – a short sound like the sound when you press a switch
• clink – to make the short high sound of glass or metal objects hitting each other, or to cause objects to make this sound
• cluck – to make a short, low sound with your tongue
• crash – a sudden loud noise, as if something is being hit
• creak – if something creaks, especially something wooden, it makes a high noise when it moves or when you put weight on it
• drone – to make a low continuous noise
• fizz – a soft sound that small gas bubbles make when they burst
• groan – a long, low, sound
• growl – a low, unpleasant noise
• grunt – to make a short low sound in your throat and nose at the same time
• gurgle – the low sound water makes when it is poured quickly from a bottle
• honk – to make a loud noise using a horn, especially the horn of a car
• hoot – to make a short loud sound as a warning
• mewl – crying with a soft, high sound
• moan – a long, low sound
• neigh – to make a high loud sound like a horse’s neigh
• peal – if a bell peals, or if someone peals it, it makes a loud sound
• peep – if a car’s horn peeps, it makes a sound
• ping – to make a short high sound like the sound of a small bell
• pipe – to make a very high sound, or to speak in a very high voice
• pop – a sudden noise like a small explosion
• putter – a short, quiet, low sound at a slow speed
• ring – to make a bell produce a sound
• roar – to make a continuous, very loud noise
• rumble – a continuous deep sound
• scream – to make a very loud high noise
• screech – to make a loud, high, and unpleasant noise
• scrunch – to make a loud noise like something being crushed
• sigh – a long, soft, low sound
• squeak – to make a short, high noise
• squeal – to make a long high sound
• squee – to make a loud high noise because you are excited or happy
• thrum- to make a low regular noise like one object gently hitting another many times
• thud – a dull sound when falling or hitting something
• thump – to hit against something with a low loud sound
• tinkle – to make a high, ringing sound
• wail – to make a long, high sound
• wheeze – a high sound, as though a lot of air is being pushed through it
• whine – a high, loud sound
• whirr – a fast, repeated, quiet sound
• whisper – to make a quiet, gentle sound
• whistle – to make a high sound by forcing air through your mouth in order to get someone’s attention
• yelp – a short, loud, high sound, usually caused by excitement, anger, or pain
• yowl – a long, loud, unhappy sound or complaint

Use these words to describe sounds and make your writing come alive.

Top Tip : Find out more about our workbooks and online courses in our shop .

© Amanda Patterson

If you enjoyed this post, read:

• 75 Words That Describe Smells
• 20 Words Used To Describe Specific Tastes And Flavours
• 209 Words To Describe Touch
• Three Simple Ways To Show And Not Tell
• 12 Crucial Things To Remember About Setting
• Cheat Sheets for Writing Body Language
• 20 Fun Ways To Find An Idea For A Plot

Sources: https://www.macmillandictionary.com/thesaurus-category/british/miscellaneous-words-used-to-describe-sounds https://www.macmillandictionary.com/thesaurus-category/british/describing-sounds-that-are-unpleasant-to-listen-to https://www.macmillandictionary.com/thesaurus-category/british/describing-sounds-that-are-low-and-or-deep https://www.macmillandictionary.com/thesaurus-category/british/describing-sounds-that-are-quiet-and-or-soft https://www.macmillandictionary.com/thesaurus-category/british/describing-sounds-that-are-high-and-short https://www.macmillandictionary.com/thesaurus-category/british/to-make-a-loud-sound https://www.macmillandictionary.com/thesaurus-category/british/to-make-a-high-sound https://www.macmillandictionary.com/thesaurus-category/british/to-make-a-quiet-or-low-sound

• Description , Show Don't Tell , Writing Resource , Writing Tips from Amanda Patterson

6 thoughts on “106 Ways To Describe Sounds – A Resource For Writers”

Nice one, Amanda. I’m finding your website extraordinarily useful. I’m very new to the novel-writing scene, and for all my working life, the stuff I wrote was mainly serious business items – frightfully formal. Minutes of meetings, reports, training manuals – these were my bread-and-butter. Creative writing is proving to be much more fun, and I’m enjoying spreading my verbal wings. Many thanks for your help and guidance.

Thank you so much, Anne. Creative writing is much more fun. We’re so glad you’re finding the site to be useful.

I found this really useful. Thank you. The first thing I’m going to do is show it to my daughter, too! We’ve been talking about her using her senses more in her writing and your list is so practical. I’m sure it will really help her writing. I’m looking forward to exploring your links to the other sensory words, as well.

BTW – is there a typo in the heading ‘show and note tell’?

Thank you, Rowena. We really appreciate the feedback. And we fixed the typo.

This list will be quite useful for my poetry and Gothic Horror novel. If you don’t have one already, I’d love to see a list of touch, taste, and smell words.

Thanks, Sarah. We have these for taste: https://writerswrite.co.za/20-words-used-to-describe-specific-tastes-and-flavours/ and these for touch: https://writerswrite.co.za/209-words-to-describe-touch/ and these for smell: https://writerswrite.co.za/75-words-that-describe-smells/

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BRYN DONOVAN

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How to Describe Happiness: 100 Phrases

You’d think figuring out how to describe happiness would be easy…

but when you’re trying to think of how to express happiness in a sentence, it’s easy to draw a blank. That’s why I’m sharing this list of ways to describe happiness, excitement, and joy. I hope these happy phrases help with your novel, story, or whatever you’re writing!

When I shared my Master List of Ways to Describe Anger the other week, on my Facebook author page , one person told me she expected a paywall when she clicked. That was a pretty nice compliment! So I thought I’d do one on how to describe happiness, too. Most of the time, you can express emotions through internal monologue, dialogue, and actions. Once in a while, though, you run into the need to describe the feeling in the point of view of your character.

There are really infinite ways to convey emotion in writing. I have 100 ways here to write about happiness, joy, contentment, hope, and gratitude here. They’re not in any particular order — really, it’s just the order that I thought of them. 🙂

They aren’t all going to be ones you use personally, because every writer is different! Chances are, they’ll make you think of even more words and phrases.

How to Describe Happiness

his heart leaped up for joy

he felt a surge of happiness

I was paralyzed with happiness

their mood lifted

she was bursting with joy

he could hardly contain his happiness

his mood lightened

my spirits brightened

hope bloomed inside her

happiness glowed inside him

he felt a sudden flare of joy

I could barely conceal my delight

they were flabbergasted with joy

sunshine flooded her soul

his spirits were flying high

her hopes soared

she felt like her feet barely touched the ground

joy engulfed me

it cheered her soul

joy took hold of him

inside, she was smiling

she almost jumped for joy

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happiness overtook him

she took a defiant joy in it

happiness streaked through him like a comet

a quiet contentment spread through him

contentment filled her heart

happiness trembled inside of her

his heart dared to hope

happiness swelled within her

gratitude flowed through her

had she ever been happier in her life?

it elevated his mood

he couldn’t think of a time he’d ever been happier

their joy unfolded like a flower

she felt a glimmer of happiness

he felt dizzy with excitement

joy rushed through me

my happiness was so intense it scared me

he thought he would die of joy

her heart was singing

she felt drunk with happiness

he was intoxicated with joy

his heart throbbed with happiness

she burned with a fierce joy

happiness crept over him

it was almost more happiness than she could take

he knew a profound joy

her happiness grew

I was wild with joy

happiness expanded inside him

they were suffused with happiness

joy sparkled inside her

happiness shimmered inside me

happiness danced through her thoughts

he almost collapsed with happiness

it raised his spirits

it brought my spirits up

contentment warmed her from within

happiness radiated through him

he’d never felt more alive

she felt fully and wonderfully alive

I was filled with joyful energy

she could’ve wept for joy

I wanted to shout for joy

he was weak with gratitude

his heart pounded with happiness

she savored the feeling of contentment

a sudden feeling of happiness surprised him

an unexpected happiness consumed her

happiness made me feel invincible

joy rippled through him

gratitude welled up inside her

he felt a flush of happiness

happiness resonated through him

she was transported with joy

it was almost too much happiness to bear

contentment tiptoed into her heart

he was overcome with happiness

he’d unearthed a greater joy than any he’d ever known

her spirits bounded higher

it brought him a ray of happiness

she felt a whisper of happiness

he felt an inkling of joy

she felt a stab of hope

satisfaction settled in his soul

happiness washed over her

his soul took flight

she felt in love with the whole world

he had no words for the gratitude he felt

she was buzzing with happiness

she felt like she was floating

he was in heaven

she was treasuring every moment

she surrendered to bliss

the weight lifted from my soul

he felt a solemn sense of happiness

joy bubbled up inside of her

his happiness overflowed

my heart almost broke with joy

I’m curious: if you read the whole list straight through, did it make you feel happier? It had that effect on me!

Either way, I hope you’re happy to have the list! And if you you like lists for writers, check out my book Master Lists for Writers, if you haven’t already!

Do you have some ideas about how to describe happiness? Would you like to share an example of a description of happiness from your own writing? Please go ahead in the comments section below! Thanks for stopping by, and happy writing!

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46 thoughts on “ how to describe happiness: 100 phrases ”.

Bryn, your posts are always filled with such awesome information for the reader and writer in all of us! Thanks so much for taking time out of your busy life to do this. And, yes, I was smiling towards the end!

Hi, Marcia! Oh, I’m so glad you like them. 🙂

Yup! U r right!

I love these lists. I print them out and use them regularly. They help inspire and find the right words. I use them as a cheat sheet.

Constance, I’m so glad they’re helpful! I do think of them as “cheat sheets” (except it’s not really cheating, of course!)

These are great! And SO helpful!! <3

Hi, Caro! Aw thanks. Hope you’re having a great week!

You helped me improve in my composition a lot.THANK YOU!???

I absolutely love your lists. I refer to them all the time when I find myself needing inspiration or repeating too many phrases. Thank you so much for sharing.

Ohh, thank you friend. 🙂

Wonderful list! Thank you, Bryn.

Thank you so much. I’m so happy that I’ll no longer spend minutes trying to convey a simple emotion and it’s all thanks to you!

Thanks, Bryn. These are great descriptions. 🙂 — Suzanne

Thanks Bryn, I’ve saved this and will use it often. Happiness has crept over me! Cary

How amazing! Where do you get all these ideas from?

Aw thanks! It took me a long time. 🙂

How long????

Thanks for this wonderful list about happiness

I was wondering on Google and I found this!!! Such a lovely article ? I too write on aintyouliving.blogspot.com from India. Hopefully you’ll find something interesting on my blog. Well, love from India ♥️

This was so useful! I started using a few in my everyday writing and it’s made a huge difference

This is a great post and a huge help for writers like myself. Amazing information! Thank you.

Hi Margie! Thanks—I am so glad you found it useful!

Hi! I kind of used this in my writing. Thank you so much!

What I wrote: The room erupted in cheers. People were laughing and smiles were everywhere. Thank GOODNESS! I could barely conceal my happiness. Joy and relief welled up inside of me, and I sighed. I let out the deep breath that I had been holding onto for what seemed like a long time. My job here was done and my dream… had come true.

Ashlyn, so glad it helped. And I love what you wrote! Thanks for sharing!

Wow! Amazing ?! I LOVE it!!!

what an amazing list of words, enjoyed it thank you!!

they helped me a lot in my creative writings.

Wow,Bryn! Thank you ?! I use it a lot on my Compositions!

OMG this is priceless, thank you thank you thank you thank you! Bless your soul for this.

thx, my child now gets high marks for her compo

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awww you are soo sweet,you are helpful you are a role modelll:)

thanks this really helped with my compo ???

my god! Amazing stuff!, huge round of Applause!!

I am Sheema Suroor Mohammad

Thanks heaps great list!!

Thank you. This is exactly what i was looking for. Please note that you are helping emerging authors with this your list that i personally refer to as inexhaustible list.

That is an impressive list! Thanks for sharing!

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Happy to learn happiness in so many words, Wonder how it comprehends so wide! Thank you so much.

this really helped me and i fucking hate you

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I found this website a couple of days ago, and let me tell you, I love it so much! These are so helpful when trying to make things sound interesting without using the same phrases over and over again! Thank you for making these!

Simply amazing. Very well listed. we do find words but not phrases. And you have done an fantastic work by putting them in phrases and Its not just saved our time but you made me learn a many of them. Thank you so much.

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Writers' Treasure

Effective writing advice for aspiring writers

Creative Writing 101

Creative writing is any form of writing which is written with the creativity of mind: fiction writing, poetry writing, creative nonfiction writing and more. The purpose is to express something, whether it be feelings, thoughts, or emotions.

Rather than only giving information or inciting the reader to make an action beneficial to the writer, creative writing is written to entertain or educate someone, to spread awareness about something or someone, or to express one’s thoughts.

There are two kinds of creative writing: good and bad, effective and ineffective. Bad, ineffective creative writing cannot make any impression on the reader. It won’t achieve its purpose.

So whether you’re a novelist, a poet, a short-story writer, an essayist, a biographer or an aspiring beginner, you want to improve your craft. The question is: how?

When you write great fiction, poetry, or nonfiction, amazing things can happen. Readers can’t put it down. The work you wrote becomes a bestseller. It becomes famous. But you have to reach to that level… first .

The best way to increase your proficiency in creative writing is to write, write compulsively, but it doesn’t mean write whatever you want. There are certain things you should know first… it helps to start with the right foot.

To do exactly that, here we have a beginners’ guide from Writers’ Treasure on the subject:

• An Introduction to Creative Writing
• How to Get Started in Creative Writing in Just Three Steps
• Creative Writing vs. Technical Writing
• Fiction Writing 101: The Elements of Stories
• Poetry Writing: Forms and Terms Galore
• Creative Non-Fiction: What is it?
• Tips and Tricks to Improve Your Creative Writing
• Common Mistakes Made by Creative Writers

For novelists: do you want to write compelling opening chapters?

Are you an aspiring novelist? Will your novel see the light of day? For that, you will need to make the first chapter of your story as compelling as possible. Otherwise, readers won’t even pick up your novel. That chapter can be the make-or-break point that decides whether your novel is published or not. It’s because good editors know how you write from the first three pages… or sometimes even from the opening lines.

To solve this problem, I created a five-part tutorial on Writing Compelling Opening Chapters . It outlines why you need to write a compelling opening chapter, my personal favourite way of beginning it, what should be told and shown in it, general dos and don’ts, and what you need to do after having written it. Check it out for more.

Need more writing tips?

Sometimes you reach that stage when you outgrow the beginner stage of writing but feel that you’re not yet an expert. If I just described you, no worries– Writers’ Treasure’s writing tips are here. Whether you want to make your writing more readable, more irresistible, more professional, we’ve got you covered. So check out our writing tips , and be on your way to fast track your success.

I offer writing, editing and proofreading , as well as website creation services. I’ve been in this field for seven years, and I know the tools of the trade. I’ve seen the directions where the writing industry is going, the changes, the new platforms. Get your work done through me, and get fast and efficient service. Get a quote .

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