how to describe hope in creative writing

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hope - quotes and descriptions to inspire creative writing

• a perfect wish
• desperation
• encouragement
• expectations
• faith in action
• Feeling optimistic
• feeling well
• kind hearted person
• pandoras box
• positive people
• quotes of hope
• quotes of missing someone
• wishing well
• words of encouragement
• words of encouragement and strength

My hope, it sat upon a butterfly of painted wing, drinking deeply of the aroma of flowers. And of its steed, she flew on in bonny fashion, rising and falling only to rise again; without insulation for the winter, nor experience of icy blasts. My hope and her were blessed companions, for one cannot sense the cold and the other requires recovery without it.

"Morrow’s Dawn" Into the morrow’s yawning dawn, In effervescent gay sprung hues, And dalliance of autumnal blues, Bambi’s dream left and right, We pray without fires flight, Yesterday’s foliage a lain feast, Bounty of acorns bright and new, Speaking of long horizons ghast, Speaking of long horizons merry, To parental audience, Praying weathered hands of timeless bond, Remove wall bricks one and one, Pay heaven’s very toll, For the mooring of fate’s bonny ferry, The birth of liberty’s frontier, The homeward bound pathway, Strewn with verdant spikes of tree-blossomed gift, Awaits the forge of bonfire day tracks, In everlasting transience.

Hope is an act of true courage from the bravest part of your soul. To open your eyes and be willing to see that the road to better things is challenging and full of effort, that's good, that's how this broken world will get fixed.

Hope is when we see the beauty of the black night, how it embraces the stars as its family of the heavens. Hope is when we realise that we have the power to see such beauty, to reach toward it with naked hearts and be elevated into better ways.

When your world is as black starlit heavens and in that ether you float, hope is the light that forms a rope and anchors you to the chance of a better future.

When there was no light, when there was nothing beyond the boundaries of my skin, hope was a ladder woven of heaven's vibrations that spoke right to my healing soul.

In darkness, Believe in light, In loneliness, Believe in friends, In sorrow, Believe in joy, In pain, Believe in empathy, In frustration, Believe in patience, In anger, Believe in perspective, In indifference, Believe in love, For in evolving wisdom, Lives hope for us all.

Hope is in the way you smile, in the way you are quiet when you reach out with your eyes. It when you pause, gathering strength to make a better choice, to breathe and let love have a moment to guide you. Hope is in that soft shrug of yours, the playfulness that lets me know you actually believe in yourself after all. It's in the way you walk, more confident than before, holding your head a little higher. Every time you reach for the sun, you are part of the hope for us all, a precious part of life on Earth.

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Emotion: Hope

The ProWritingAid Team

When you want to write the emotion hope, it's important to "show" the emotion your character is experiencing through their physical reactions and dialogue, rather than "tell" it. In this article we provide you with inspiration so you can avoid showing not telling and immerse your readers in your story.

Hope is an optimistic state of mind that is based on the expectation of positive outcomes or the belief that things will get better in the future. It is the feeling of desire and anticipation for something good to happen, even when the odds may seem unfavorable. Hope can provide motivation, comfort, and resilience during difficult times and can inspire people to take action to achieve their goals. In writing, hope can be portrayed through a character's actions, thoughts, and dialogue, as well as through the overall tone and theme of a story.

Different Types of Hope

Situations associated with hope, physical reactions to hope, thoughts associated with hope, atmosphere of hope, verbs associated with hope, emotions before hope, emotions after hope, telling hope examples to avoid, practical examples of showing hope, exercises for showing hope.

Here are some different types of hope:

• Optimistic hope: an expectation or belief that things will turn out positively in the future.
• Desperate hope: a feeling of hope that is born out of a desperate situation or circumstance.
• Nostalgic hope: a feeling of hope that is based on memories or past experiences.
• Resilient hope: a persistent and enduring hope that persists despite setbacks or difficulties.
• Inspirational hope: a hope that is based on the belief that one can achieve great things or make a positive impact on the world.
• Faith-based hope: a hope that is rooted in religious or spiritual beliefs.
• Empathetic hope: a hope that is driven by a desire to help others and make a positive impact on their lives.

Here are some situations where a character might experience the emotion of hope:

• Overcoming a difficult challenge or obstacle
• Seeing a positive change or improvement in their life or the lives of others
• Receiving support or encouragement from others
• Being inspired by someone or something
• Discovering new information or possibilities that offer a sense of hope for the future
• Reflecting on past successes or happy memories
• Hearing or reading about stories of resilience, perseverance, or triumph in the face of adversity
• Being given a second chance or opportunity to make things right
• Feeling a sense of purpose or meaning in their life or work

Here are some physical reactions a character experiencing hope might have:

• Upright posture and an open body language
• Bright and optimistic facial expressions such as a smile, raised eyebrows or widened eyes
• A sense of energy and enthusiasm
• A positive tone of voice with an upbeat pace
• Engages in activities that support their goals and dreams
• Seeks out opportunities and solutions to problems
• Displays a sense of determination and resilience
• Talks about the future with excitement and anticipation

Here are some thoughts a character experiencing hope might have:

• Maybe things will turn out okay after all.
• I have a good feeling about this.
• There's still a chance for a happy ending.
• I believe in myself and my abilities.
• I'm looking forward to the possibilities that the future holds.
• I'm excited to see what happens next.
• This setback is just a temporary obstacle.
• I'm willing to take risks and try new things.
• I trust that everything will work out for the best.

Here are some ways that you might reflect the emotion of hope in the atmosphere of your scene:

• Use bright colors and natural lighting to create a positive and uplifting atmosphere.
• Include symbols of hope, such as flowers, rainbows, or sunsets, to reinforce the emotion.
• Set the scene in a location that represents hope, such as a garden or a mountaintop.
• Use positive language and optimistic descriptions to describe the setting and characters.
• Include hopeful sounds, such as birds chirping or a gentle breeze, to enhance the mood.
• Show characters engaging in activities that represent hope, such as planting a garden or working towards a goal.
• Use metaphors or similes that evoke the feeling of hope, such as "her heart felt light and free, like a butterfly in the wind."

Here are some verbs commonly associated with the emotion of hope:

Here are some emotions that may come before a character experiences hope:

• Disappointment
• Frustration

Here are some emotions that may come after a character experiences hope:

• Resignation

Here are some examples of telling the emotion hope in a sentence. You should avoid things like this:

• She felt hopeful about her future.
• He hoped that things would work out in his favor.
• The news gave her a sense of hope.
• They held onto hope that they would find a way out of their predicament.
• The thought of a better tomorrow filled her with hope.
• He clung to the hope that his dreams would come true.
• The possibility of a happy ending filled her with hope.
• They prayed for hope in their darkest moments.
• The glimmer of hope in his eyes was unmistakable.

Here are some examples of showing hope in a sentence:

• Sarah gazed at the sunrise, feeling a rush of optimism for the day ahead.
• Despite the difficulties, John continued to work hard, believing that success was within reach.
• As she read the letter from her long-lost friend, Emily felt her heart swell with anticipation of their reunion.
• The little girl smiled brightly as she clutched her new toy, imagining all the adventures they would have together.

Here are some writing exercises to practice showing hope:

• Start with defining what hope means to your character. What does it look like, feel like, and sound like? What are the specific things they hope for?
• Write a scene where your character is feeling hopeless. Then, rewrite the scene to show how hope is slowly restored. What actions, thoughts, or interactions with others help bring hope back to your character?
• Write a letter from your character to their future self, expressing their hopes and dreams. What would they like to achieve, and how do they plan to get there?
• Write a scene where your character encounters a situation that challenges their hope. How do they react, and how do they overcome this challenge? What does this tell you about their character and their relationship to hope?
• Use sensory details to convey hope in your writing. Describe the way the sun shines, the wind blows, or the birds sing to create a sense of optimism in your reader.

Want more help with showing emotion instead of telling? You find more help in our full emotions list .

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Hope Adjectives: Describing Words With Examples

When it comes to hope, words have the power to inspire, uplift, and fuel our spirits. Adjectives, in particular, play a vital role in painting a vivid picture of hope. They add depth, emotion, and nuance to our descriptions, helping us to articulate the essence of this powerful feeling. In this article, I’ll be sharing a collection of adjectives that beautifully capture the essence of hope, along with examples to illustrate their usage. Whether you’re a writer looking to add more color to your prose or simply seeking to express your own sense of hope, these descriptive words will serve as a valuable resource.

• Radiant: Hope can often be described as radiant, like a warm and glowing light that illuminates even the darkest of moments. It is the spark that ignites our souls and fills us with optimism for the future. For example, “She had a radiant hope that everything would work out in the end.”
• Resilient: Hope is resilient, able to withstand adversity and bounce back from setbacks. It is the unwavering belief that no matter the challenges we face, we have the strength and determination to overcome them. For instance, “Despite the difficult circumstances, he remained resilient, holding onto hope for a better tomorrow.”
• Boundless: Hope knows no bounds, transcending limitations and expanding our horizons. It is the limitless belief in the possibilities that lie ahead, even in the face of uncertainty. As an illustration, “Her boundless hope propelled her to dream big and pursue her passions with unwavering determination.”

Table of Contents

How to Describe hope? – Different Scenarios

When it comes to describing hope, there are various scenarios and contexts in which we can paint a vivid picture of this powerful emotion. Let’s explore some ways to capture the essence of hope with descriptive words in different situations:

1. Bright and Radiant Hope

In moments of joy and anticipation, hope can be described as radiant and glowing. Here are a few adjectives that capture this sense of brightness:

• Gleaming : Hope that shines brightly, like a ray of sunshine.
• Radiant : Hope that emits warmth and light, like a beacon in the darkness.
• Lustrous : Hope that has a captivating and luminous quality, inspiring those around it.
• Vibrant : Hope that is full of life and energy, bursting with optimism.

2. Resilient and Enduring Hope

In times of difficulty and adversity, hope can be characterized by its resilience and strength. Consider these adjectives that convey a sense of durability:

• Tenacious : Hope that never gives up, persistently holding onto the belief in a better outcome.
• Indomitable : Hope that cannot be broken or defeated, even in the face of the greatest challenges.
• Steadfast : Hope that remains unwavering and unwaveringly strong, providing a steady foundation in turbulent times.
• Unyielding : Hope that refuses to surrender, standing firm against all odds.

3. Boundless and Limitless Hope

Hope knows no bounds and can stretch beyond what seems possible. Here are some adjectives that exemplify this boundless nature:

• Expansive : Hope that knows no limits, encompassing vast possibilities.
• Inexhaustible : Hope that seems to never run out, continually renewing itself even in the face of setbacks.
• Unbounded : Hope that is limitless and stretches beyond borders and boundaries.
• Eternal : Hope that transcends time and space, existing indefinitely.

Remember, these adjectives are just a starting point to help you express the diverse facets of hope. Feel free to combine words or come up with your own adjectives that resonate with you and the particular scenario you want to illustrate.

In the next section, we’ll dive into practical examples of how these adjectives can be used to describe hope in everyday life.

Describing Words for hope in English

When it comes to describing hope, there are countless adjectives that capture its essence. In this section, I’ll provide you with a selection of descriptive words for hope, along with examples of how you can use them in everyday life. Let’s dive in!

1. Bright: When hope shines through, it illuminates our lives with its radiance. It’s like a beacon of light that guides us towards better days. For example, “Even in the darkest of times, her bright hope never wavered.”

2. Resilient: Hope is often characterized by its ability to withstand adversity. It’s like a strong and resilient force that keeps us going, even in the face of challenges. For example, “Despite the setbacks, their resilient hope kept them moving forward.”

3. Boundless: Hope knows no bounds and has the power to transcend limitations. It’s a limitless feeling that expands our horizons and opens doors to new possibilities. For example, “With boundless hope, she pursued her dreams fearlessly.”

4. Optimistic: Hope is inherently optimistic, always looking towards a brighter future. It’s that unwavering belief that things will eventually work out for the best. For example, “Despite the setbacks, he remained optimistic, knowing that hope would lead the way.”

5. Empowering: Hope empowers us to take action and make positive changes in our lives. It gives us the strength to overcome obstacles and achieve our goals. For example, “With hope as her driving force, she empowered herself to make a difference in the world.”

Remember, these are just a few examples of adjectives that can be used to describe hope. Feel free to explore and find your own words that resonate with you. Incorporate them into your conversations, writing, and daily affirmations to cultivate a sense of hope in your life.

Now that we’ve explored these descriptive words for hope, let’s move on to the next section where we’ll delve into practical examples of how these adjectives can be used in different contexts.

Adjectives for hope

Hope is a powerful and uplifting emotion that can bring light and positivity to our lives. It is the feeling of optimism and belief in a better future. One way to express and describe hope is through the use of adjectives – words that capture its essence and convey its meaning. In this section, I will share some positive and negative adjectives for hope, along with example sentences, to help you better understand and articulate this inspiring emotion.

Positive Adjectives for Hope

Below are twelve positive adjectives that can be used to describe hope, along with example sentences to illustrate their usage:

Negative Adjectives for Hope

While hope is predominantly associated with positivity, there are also negative adjectives that can be used to describe it. Here are five examples along with sentences to demonstrate their usage:

Remember, adjectives have the power to bring emotions and descriptions to life. Using these adjectives, you can paint a vivid picture of hope and inspire others with your words. Incorporate them into your conversations, writing, and daily affirmations to cultivate a sense of hope in your own life and share it with those around you.

Synonyms and Antonyms with Example Sentences

Synonyms for hope.

When it comes to describing hope, there are several synonyms that can capture its essence. Using these synonyms can help us express hope in different ways and add variety to our language. Here are some synonyms for hope along with example sentences:

Antonyms for hope

On the other hand, there are also antonyms for hope that can describe its absence or the lack of positive expectation. These antonyms add depth to our understanding and help us appreciate the value of hope. Here are some antonyms for hope along with example sentences:

By understanding these synonyms and antonyms, we can better articulate the concept of hope and its different nuances. Incorporating these words into our vocabulary can help us express our feelings and experiences more precisely.

In this blog post, I have explored the power of adjectives in describing hope and provided a comprehensive list of positive and negative adjectives that beautifully capture the essence of hope in various situations. By incorporating these descriptive words into our vocabulary, we can better express our feelings and experiences related to hope.

Throughout the article, I have also introduced synonyms and antonyms for hope, along with example sentences, to help readers expand their understanding of this complex emotion. By exploring these alternative words, we can gain a deeper appreciation for the multifaceted nature of hope and find new ways to articulate it.

By incorporating these adjectives, synonyms, and antonyms into our daily conversations and writing, we can enrich our expressions of hope and convey its nuances more precisely. Whether we are expressing unwavering optimism or acknowledging the challenges that come with hope, these descriptive words offer a range of options to capture the essence of this powerful emotion.

I hope this article has been informative and has inspired you to explore the world of adjectives for hope. Remember, words have the power to shape our thoughts and emotions, so let’s embrace the beauty of language and express hope in all its vibrant forms.

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Essays About Hope: Top 5 Examples Plus 5 Prompts

No matter what happens in life, we all have hopes and dreams. If you are writing essays about hope, you can start by reading our top examples and prompts.

Hope is said to be “the remedy for grief and despair.” It allows us to long for better days whenever we are feeling down. When we are hopeful, it is as if we are trying to wish or manifest for something to happen; we sincerely anticipate whatever we are hoping for.

Hope is an important feeling since it keeps us optimistic, but like all things, it is not good in excess. We often get lost in our hope and let it delude us into thinking the most unrealistic things. It is good to hope, but you should not allow it to get the best of you.

5 Top Essay Examples

1. a reflection of hope by shannon cohen, 2. my hopes & dreams by celia robinson, 3. hope: the forgotten virtue of our time. by paul j. wadell, 4. an ideal of hope by jonathan belle.

• 5. ​​Hope and Reality by Greg Arnold

1. What Is Hope?

2. what do you hope for your future, 3. what makes me hopeful, 4. feeling hopeless in life, 5. how to help others be more hopeful.

“Hope is a fighter. Hope may flicker or falter but doesn’t quit. Hope reminds us that we are Teflon tough, able to withstand the dings, scratches, and burns of life. Hope is the quintessential “hype-man.” Hope will have you raise the roof, jump up and down, and rock side to side believing that you are magic, your dreams are within reach, and your life is greater than your present circumstances. We All Need Hope.”

Intertwined with quotes about hope, Cohen’s essay describes the many roles that hope can play in our lives. With hope, we can learn from our mistakes and improve ourselves. It fuels us to achieve our goals, helps us keep persevering, and inspires us. We are also the products of our ancestors’ hopes and dreams. 

“As I have mentioned earlier, everyone wants to become successful in the future. I do also; I want to go University, yet I haven’t decided what for so far. I want to grow up and make my Parents proud, especially when my Dad’s up there watching over me. I want to be happy. But every step I take, has the potential of changing my entire path, where my life is leading. So I must live life to the full, no matter what. Hope is something everyone needs.”

Robinson reflects on what she is hopeful for, recalling her childhood fantasies of living an idyllic, magical life. She discusses her dreams of going to university and making her parents, specifically her deceased father, proud of her. She hopes to live life to the fullest and for a better world. In particular, she hopes to see the day when cancer is no longer as severe an issue as it is today. Hope is important and is something everyone should have. 

“Hope keeps us from being so immersed in the good things of this world that we forget who we really are, a people on the move, pilgrims who are called not to stay put but to move toward the feast. Most of all, hope prevents us from becoming so comfortable with the pleasures of life that the possibility of a journey never even occurs to us.”

Wadell writes about hope from a Christian point of view; however, his message speaks to everyone. He gives readers a brief history of hope as a virtue in Christianity, saying that hope should be directed towards God and his kingdom. Hope allows us to appreciate all that is good in the world while keeping us longing for more. To nurture our feelings of hope, Wadell says that we must practice gratitude and spread hope to others. 

“Hope is important because hope involves the will to get there, and different paths for you to take. Life can be difficult and that shouldn’t come as a surprise to anyone. Yet, hope allows you to keep going down different roads, to see things different, and to try and make things for your perfect ideal. This hold true, even when there seems like there isn’t a solution.”

In this essay, Bell writes about his interpretation of hope: it is universal and gives us the will to work for whatever we hope for, not just sitting around and waiting for it to happen. For our hopes to be fulfilled, we must also put in the work. Bell also writes that you can strengthen your sense of hope by surrounding yourself with positive people and planning your goals. We are also called to bring hope to others so we can be hopeful for a better future. 

5. ​​ Hope and Reality by Greg Arnold

“Don’t be pessimistic and you have to remember that most of the important things in the world have been accomplished by people who have kept on trying when there seemed to be no hope at all- Dale Carnegie. Finally, it is acceptable to spend some time in hope but don’t live in it, you need to live in reality which is the way in getting things into results.”

Arnold’s essay explains the importance of keeping our hopes grounded in reality, not too optimistic yet not negative as well. We cannot predict the future, but we can at least yearn for the better and strive to work for it to happen. He believes that we should stop being so pessimistic about the world and dream big, for the hopes of many can be accomplished with hard work and determination. 

5 Prompts for Essays About Hope

The definition of hope can differ from person to person, as our experiences shape our sense of hope. In your essay, you can write about what hope means to you. Then, briefly explain why you are hopeful and what you hope for if you wish. You can also check out these essays about jealousy .

We all have our hopes and dreams for our futures. Reflect on hope and share what you hope for in your future and why you hope for it. Perhaps you hope for a long and healthy life or something as simple as hoping for a good grade on your test. The scope can be as small as a few days or ten years, as long as you can share your thoughts clearly and descriptively. 

For your essay, you can write about what makes you hopeful. Describe a person, memory, idea, or whatever else you may choose, and explain why it makes you hopeful. Many things invoke hope, so make sure your essay reflects your personal opinion and includes anecdotes and memories. For example, you may have a relative that you are inspired by, and their success could make you hopeful for your own future.

The world is not perfect, and we all feel despondent and hopeless from time to time. Look back on time you could not bring yourself to hope for better. Discuss what led you to this situation and how you felt. This may be a sensitive topic to write about, so do not go too in-depth if you are not comfortable doing so.

If someone you know is feeling hopeless, chances are you would try to lift their spirits. Address your essay to people who feel hopeless and give tips on improving one’s mental health: they can be as simple as getting more sleep or being outdoors more. For an in-depth piece, cite psychological studies to support your tips.

Grammarly is one of our top grammar checkers. Find out why in this Grammarly review .

For help picking your next essay topic, check out our top essay topics about love .

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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BRYN DONOVAN

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Master List of Ways to Describe Fear

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

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

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

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

fear paralyzed him

his terror mounted with every step

she fought a rising panic

fear tormented her

her heart was uneasy

her heart leaped into her throat

his heart hammered in his chest

his heart pounded

terror stabbed his heart

his heart jumped

her heart lurched

a fear that almost unmanned him

his body shook with fear

she trembled inside

he suppressed a shiver

panic surged through him

her fear spiked

he was in a complete state of panic

she could feel nothing but blind terror

his legs were wobbly with fear

she sweated with fear

his hands were cold and clammy

she was weighed down by dread

dread twisted in her gut

his stomach clenched

fear fluttered in her stomach

her belly cramped

he felt like he might throw up

she was sick with fear

she was frightened down to the soles of her shoes

he was icy with panic

her body went cold with dread

raw panic was in her voice

her voice was thick with fear

his voice was edged with fear

terror thundered down on him

fear caught her in its jaws

fear clawed up her throat

terror sealed her throat

fear gripped her throat

his throat tightened

then she knew real terror was

he was frantic with fear

she was half mad with terror

the color drained from her face

his face was ashen

she blanched

dread gnawed at his insides

dread had been growing in him all day

fresh terror reared up within her

fear choked him

terror stole her words

he was mute with horror

her voice was numb with shock

his voice was shrill with terror

her defiant words masked her fear

her body felt numb

his blood froze in his veins

terror coursed through her veins

fear throbbed inside her

his panic fueled him

adrenaline pumped through his body

adrenaline crashed through her

fear pulsed through him

her scalp prickled

the hairs on the back of her neck stood up

his mouth went dry

his bones turned to jelly

her bones turned to water

she froze with horror

he didn’t dare to move

terror struck her

he was too frightened to lift her head

she was too frightened to scream

his mouth was open in a silent scream

he cringed with fear

she cowered

he shrank back in fear

she flinched

a bolt of panic hit her

terror streaked through him

her terror swelled

his panic increased

anxiety eclipsed his thoughts

panic flared in her eyes

his eyes were wild with terror

her eyes darted from left to right

she feared to close her eyes

he lay awake in a haze of fear

she walked on in a fog of fear

his eyes widened with alarm

she tried to hide her fear

he struggled to conceal his shock

fear crept up her spine

fear trickled down her spine

panic seized his brain

she felt a flash of terror

fear took hold of him

fear flooded through her being

she ordered a drink to drown the panic

he arranged and re-arranged the items on his desk

a nameless dread engulfed him

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

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

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

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

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

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

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

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

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

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

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

Aww, I’m so glad to hear this! 🙂

Thanks for compiling this list. Much needed.

Aw thanks, Ezekiel! So glad you like it!

What a terrifying, fantastical list. Thank you, Bryn

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

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

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

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This is a great list! Thank you, Bryn.

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

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

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

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

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

So glad to hear that! Happy writing 🙂

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

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

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

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

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

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

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

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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.

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How Fiction Writers Can Show Emotions in Their Characters in Effective Ways

Editor Robin Patchen wraps up our examination of Fatal Flaw: # 6 Show, Don’t Tell. Writers often succumb to this fatal flaw of fiction writing, explaining and telling and summarizing instead of showing action as it’s happening. Robin gives some great tips on how writers can show by action and thoughts rather than by relying on describing bodily sensations. Be sure to pay attention to this one! (If you missed this month’s post on this fatal flaw, start with this one here .)

This month, we’ve been studying that famous axiom for fiction writers: show, don’t tell. Today, I’m going to tackle what I think is the most difficult thing to show in our novels—emotions.

If you’ve been writing for a while, no doubt you’ve heard it’s not acceptable to name emotions. Don’t tell us Mary is sad. Show us she’s sad.

Many writers lean on a clever trick to show emotions—they describe a character’s physical reactions to emotions. So characters are often crying, yelling, and slamming doors. Their stomachs are twisting, their hands are trembling, and their cheeks are burning. We hear exasperated breaths and soft sighs. Don’t even get me started on heartbeats. Some characters’ hearts are so erratic, I fear they’re going into cardiac arrest.

So What’s a Fluttering Heart to Do?

I’m poking fun, because I do it too. It’s an easy way to show emotions. But I have a few problems with this old standby. First, these things are so overused, they’ve become cliché. (I know your stomach is twisting at the very thought.) Second, having a character clenching his fists might show us he’s angry, but it doesn’t show us the impetus for that anger. Is he feeling frustrated, slighted, or jealous?

All those—and a host of other primary emotions—can lead to anger. Finally—and to me, this is the most important—showing me your characters’ physical responses provokes no emotional response from me. Your hero might clench his fists, but I promise, mine will remain perfectly relaxed. So you might have shown an emotion, but you haven’t made your reader feel anything. And that, my friends, is the point of fiction—to elicit an emotional response.

Let’s take a look at some effective and not-so-effective ways to show emotion.

Mary opened her eyes and looked at the clock. Her heart nearly leapt out of her chest. The baby had slept nearly eight hours. But little Jane never slept more than four hours at a time. Something must be wrong.

Not again. Her stomach rolled over when she remembered the last time a child of hers had slept too long.

Mary flipped the covers back and stood on weak knees, forcing herself to her feet despite the fear overwhelming her. She shoved her arms in her bathrobe, slipped into her warm slippers, and rushed for the door. Her hands were shaking so badly she could hardly turn the doorknob. Finally, she got the door open and ran down the hallway toward the nursery.

She threw open the door and lunged at the crib. She peered inside and saw the beautiful pink cheeks of her newborn daughter. She placed her trembling hand on Jane’s back, felt the even breaths, and let out a long sigh. Tears of gratitude filled her eyes as she realized her baby was alive.

Our character is definitely feeling emotions. Do you think I can get the reader to experience a few of them? I’ll give it a try.

Mary opened her eyes and squinted in the sunshine streaming in through the open window. She stretched, feeling more relaxed than she had since . . .

She sat up and looked at the clock. It was after eight. Little Jane had slept through the night. For the first time.

Just like Billy.

Mary flipped the covers back and stood. She snatched her robe from the back of the chair and slipped it on. She wouldn’t think about Billy. The doctor said it wouldn’t happen again. The odds against it were astronomical.

Billy had been nearly six weeks old. Jane was almost two months. It was different this time. It had to be.

She slipped her feet into her fuzzy slippers, ticking off all the ways the situations were different. Billy had been sick. Jane had never even had a sniffle. Billy had been fussy. Jane was nearly the perfect baby, only crying when she was hungry or wet.

She must be both hungry and wet right now, but little Jane was silent.

No, God wouldn’t do that to her again. She couldn’t bury another child. She wouldn’t.

She stepped toward her bedroom door, remembering Billy’s skin, how gray and cold it had been. At first, she’d thought maybe someone was playing a mean trick on her. But then she’d lifted him. Seen his face. Those gray lips and lifeless eyes.

Maybe it would have been different if she hadn’t been alone when she’d found his tiny body. Maybe if John had been there. But John had been gone on a business trip.

Mary turned and looked at the empty bed. Her side was a jumble of blankets. John’s side was untouched. He was on a business trip. Again.

He’d rushed home that day two years earlier, assured her it wasn’t her fault. How could she have known?

How indeed? How did a good mother sleep through her own child’s death? How did she dream of beaches and butterflies while her son passed into eternity?

If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.

She stepped into the hallway and took a first step. A good mother would run, but she could hardly force herself to walk. She inched her way down the hall.

She glanced at the stairs. What if she went to the kitchen, made some coffee? Never found out the truth?

She pushed the thought away and continued past the staircase, paused at the nursery door, and laid her hand on the cold metal doorknob. The clock ticked loudly in the hallway, like a steady heartbeat.

She stepped into the room and approached the crib. And there, sprawled on her back, lay the most beautiful sight she’d ever seen.

Jane’s eyes opened at the sound of Mary’s approach, and she smiled.

I hope you had at least a twinge of emotional reaction to that. I know I did. Please notice, there’s not a single beating heart or trembling hand in that example. Her stomach doesn’t clench, and her eyes don’t fill with tears. Yet she felt a lot of emotions. Did you?

Slow It Down

Counselors tell us that thoughts lead to emotions, and emotions lead to actions. As a writer, you can easily show your character’s thoughts and actions. Readers are smart enough to deduce the emotions based on what the characters think and do. So often it seems writers are in a hurry.

When you have a very emotional scene, slow it down. Let us hear your character’s every thought. Highlight a few details. Show the actions.

Why don’t we write like this? For one thing, it takes a lot longer. My first example is fewer than two hundred words and took me about five minutes to write. The second is closer to five hundred and took nearly half an hour.

Writers have to dig a lot deeper to write selections like the second one. I had to remember what it was like to be a new mother, put myself in the shoes of a woman who’d already buried one child, and try to feel what she would feel. Not comfortable, let me tell you.

And you see a bit into my soul, don’t you? What kind of mother would even consider going downstairs and making a pot of coffee? Yet as I put myself in that scene, I looked at the stairs, and I thought about it. Showing emotions means baring your soul.

Sure, it’s fine to have some lines showing emotions by way of bodily response. But don’t limit yourself to that technique. I hope this example helps you see ways you can elicit emotion in your reader through thoughts and actions.

But showing emotions can pull your reader in and get them to feel right along with your hero and heroine. And isn’t that the goal?

What stood out to you as you read the After example? What lines gave emotional impact?

Want to master the emotional craft of fiction?

Dive into the online course emotional mastery for fiction writers .

In this course, you’ll be given tools to  show  emotions in your characters. You’ll be given techniques to help  spark  emotional response in your readers. What is going to bring it all together for you is practice. Study and practice. And you’ll have exercises in this course to help you put into practice what you learn.

Emotional mastery requires writers to set up the dynamics of a scene in such a visual, textural way that readers can’t help but feel what they are meant to feel. Understanding that emotional mastery requires  a twofold approach — the emotional landscape of both the character and the reader —is the first step.

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.

You’ll get lifetime access to all the videos and more than three dozen downloadable assignments. And with a 30-day money-back guarantee, you have NOTHING to lose by jumping in. Sign up NOW.

This course will challenge you to become an “emotion master.”  Are you ready and willing to go on this journey deep into emotional territory? If you want your characters to move your readers, take the plunge!

Listen to my discussion on how to show emotion in characters. There is so much to this topic!

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102 Comments

I found this article very helpful. It’s a delicate balancing act to slow down the action enough to heighten the emotion but not so much as to cause the reader to skip through the scene because they want to get on with it. You’ve given some good examples for doing just that. As always, another great piece of advice, C.S.!

If you think the reader might skimp over the scene. You might want to re-write it. Every scene in a story has to build up emotion and anticipation to progress head on from scene to scene.

I absolutely loved this article, and I 100% AGREE with your logic. Thank you for sharing!

One of the best posts I have read on the subject. Thank you for the great example!

Great advice, Robin!

You’ve gotten to the ultimate solution here: the truly effective approach is to describe *why* the person is feeling what he or she is, rather than the exterior symptoms.

Thanks, Curtis. I definitely think that’s a big part of it–at least one element of showing emotions. Of course we couldn’t do this with every single emotion–imagine 500 words to replace every frown. But when the emotions really matter, I think they’re worth examining.

This is one of the best articles I’ve read on this subject. You really bring it to life with your example.

Thanks! I’m glad you think so.

I’ve been often critiqued that my characters must have more emotion by showing their facial expression and bodily response to situations of distress. I can fully understand from your example how much I have dismissed all these factors by summarizing their feelings. Thanks for such a vivid example of how to convey feelings without putting a label on them.

Glad it helped. I think sometimes, we believe that the physiological reactions are the only way to show feelings, but personally, I’d much rather know what’s going on in people’s heads. Ever look at someone and think, “What is he thinking?” What’s on their face doesn’t tell us what we really want to know.

“If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.”

This line stood out to me. It puts the reader in the state-of-mind the character is in at the moment. Thanks for the article.

Kind of depressing, though, isn’t it? I’m glad it stood out.

This is a great article! You’ve really “shown” the difference very effectively 🙂

Great article! I like the contrast between showing exterior vs interior. The other trick is doing this with Deep POV.

To answer your question…I felt every bit of what the mother was experiencing. You’re an extremely talented writer. Slowing it down is so important, yet since it’s time-consuming I find myself breezing over it, too. During my second drafts I’m often horrified at the heart-fluttering, weak knees, and shaky hands in my first draft. Using subtext instead of body cues is what I’m working on now before I send my ms back to the editor. Stellar post!

My first drafts have a lot of breathing–sighing, blowing out breaths, holding breath. I think my characters might suffocate if I don’t show them breathing. 🙂 The key is to leave that stuff in draft #1.

Thanks, Sue!

nicely shown

This is very helpful. Thank you for posting this.

I do have one question though. Do you ever feel like you can overdo the inner dialogue? For example, Kurt Vonnegut once said that every sentence should either reveal character or advance the plot. How do you decide how much inner dialogue is revealing character and how much is just killing your pacing?

Is it just experience and a good ear?

Genre plays a big part in determining this! I have read suspense thrillers that are hugely internal thought, packed full of worrisome thoughts to ramp up the emotional tension. Getting in close to what a character is thinking while afraid can make the reader feel that fear. For other genres, and personal author writing styles, such as Cormac McCarthy’s, you’ll see almost no internal thoughts at all. Internal dialog can both reveal character and advance the plot, so Vonnegut’s sage words apply here as well. Best is to study other great novels in the genre in which you are writing and note (highlight?) all the lines of internal dialog and their content to see just what that amount is.

That’s great advice. Thank you!

That’s a great question, Paul. Susanne’s advice to study other great works is great.

You certainly wouldn’t want to have this much internal dialog all the way through a book. It needs to serve a purpose. In this case, we want to get the reader emotionally invested in the scene, and the best way to do that is to let us see what the character is thinking. But if the hero is deciding between a bagel or a donut, you wouldn’t want to show us his calculating the calories of each. That would get old fast.

At first, it can feel unnatural, but I think the more you write, the more intuitive it becomes.

This is a great article. I know I’m certainly guilty of getting lazy and writing scenes as I see them instead of delving into the character. I’m about to begin revision, and I can already think of places I need to expand and deepen. Thanks for the insight!

So glad it helped, Victoria. Good luck with your revisions.

This is the best example I’ve seen on this subject! I’m so glad I found it. My stories end up being like the ‘before’ and I never really liked it. It felt like something was off. You’ve really opened my eyes. I tried this on a scene I was working on and now it sounds much better! Now I must look for more tips and keep on writing.

All I can say is thank you. Shalom aleichem, Patricia

In the ‘After’ example, it was her questions that showed her doubts and her fears. That gave me the emotional response.

A good observation, Mawr. Thanks for stopping by.

I like how you demonstrate internal thoughts in third person. Many writers want to switch to first person in italics. To me this loses the continuity of the story. So right, body movements and facial expressions keep the reader on the outside of the character. Your before and after is so helpful! Thank you!

Thanks! Glad you found it helpful.

Wow. This has helped a LOT! I’ve had more compliments on one scene that I did this with, but didn’t really know concrete what I was doing. The difference was I put myself there, slowed down, and actually physically moved the way the character would, felt what she would have felt. It was amazing. Thank you so so much for sharing!!

Glad this helped you! Being aware of this can really improve the emotional impact of your scenes.

So glad it helped, Kelly.

Excellent article. Always eager to collect knowledge like this. Thank you.

This is great, but it bothers me slightly. This “slow” method of writing matches the woman’s trepidation and reluctance to learn the truth. But often emotions are felt, and acted on in an instant, and I’m rather uncomfortably aware of the fact that describing something in detail can turn a couple of seconds into a page or more.

That’s true. Sometimes it’s appropriate to slow down a moment. Sometimes, it’s not. You have to use your best judgment.

This opened my eyes to why writers have to pace a story. Just earlier, I was editing and rewriting parts of my story. It took hours, but it was worth it in the end.

I think the line that stuck out to me was, ‘How did she dream of beaches and butterflies while her son passed into eternity?’

I don’t even know how to describe why I like this line so much. I just do.

Thank you for this wonderful article. Otherwise, I wouldn’t have completely understood why pacing and emotions are so important in writing.

Thank you, Mini, for your response. I’m so glad the article worked for you. I loved that line, too. I need to find a place to use it in a book!

Great article. This is what I need to improve my writing. In your example it might go too long and it gets repetitive with the woman’s fears. If it was a tad shorter might be better. Just a thought. P

You may be right. Thanks for the feedback.

Great article. Is it say that I thought the first version was good? The second version elicited a deeper emotional experience, but I thought it told a lot. I can’t seem to find that line. The first version was active, but it did have the typical overdone descriptions. Then I read other books, and I see all sorts of contradictions from what I learn on writing sites. Sighing, knees wobbling, lips curling, eyes narrowing, jumping back, staring. I thought relying on action was great! I thought I found it….back to the drawing board.

Susanne gives good advice. I don’t have an answer. First pass, my characters do a lot of breathing–sighing, heaving, inhaled frustrated breaths. It’s as if I fear they’ll suffocate if I don’t have them breathe a couple of time son every page. 🙂

My characters’ eyes are lighting up all the time, and I have character beaming. Subject verb direct object. How do I break from this tyranny? lol

Maybe pull the plug?

the best way! im thankful to u

Excellent article — successfully writing emotion is something I struggle the most with, this is a great help.

Excellent post. I want to write with more emotion. Thanks for the great example. gramswisewords.blogspot.com

Glad it helped, Maz!

As a young writer I constantly have the “show don’t tell” philosophy thrown at me and I have read countless posts telling me that “if you’re telling the emotion even just a little bit rather than just completely showing it, you’re doing it wrong” blah blah blah, you get the picture. So to read this post has definitely changed my perspective on the delicate handling of emotion. You have demonstrated, in my opinion, a perfect balance of show and tell, so that I haven’t just been informed of the character’s feelings, their responses to traumatic events, and their life-but rather I’ve been whisked right into the character’s life to watch it all unfold. So many books I’ve read have just informed me that “oh the character is sad” as if the author is just like, hint hint wink wink-this is the part where you, the reader, should be sad too. Preferably crying over my character. Or they just say, this person is so angry they’re gritting their teeth. Like be angry at the villain because my character is angry at the villain.

But I feel nothing, because they’ve shown me how the character is feeling but they haven’t grabbed the reins of my emotions and MADE me feel for the character. If you get what I mean haha Anyways, sorry for the long comment but yeah, I just wanted to say thank you for this article-it was incredibly helpful 🙂

Glad it helps! You might like to read more about that in our 12 Fatal Flaws book. I do a whole PowerPoint workshop on this topic. I think it’s so much more effective to show what a character is thinking to evoke emotion.

I’m so glad you found the article helpful, Hannah! I know what you mean. There’s a big difference between showing an emotion and evoking an emotion. It’s much harder to do the second.

Thank you so much!! I was really struggling with the concept and I tried some other articles but this one helped the most by far. Once again, thank you so much!!

I’m so glad you found it helpful!

“How did she dream of beaches and butterflies while her son passed into eternity?” This line really got to me. I think because I would think something similar. How could I not know? How could I laugh or dream and live while someone I love is dying?

When my mother died I was at work in the stock vault. I had forgotten my phone on my desk and when I got back to it my coworkers were looking at me and saying my phone had “blown up”. They all knew my mother was sick in the hospital dying and when I got back to my desk they all knew what I did not, that she had died while I was in the vault, chatting with my colleagues. So yeah that line got to me and brought back that memory.

Perri, what a difficult memory for you that must be. I’m sorry to have brought it back. On the other hand, if the goal is to elicit an emotional response, I suppose I did manage to do that. Thank you for the note.

No, I will never refrain from telling emotions directly, and I will not read fictions which shows emotions instead of telling. Showing is necessarily ambivalent and results inevitably in incomprehensible drivel.

Interesting take on it, Klaus. Thanks for the note.

This opened my eyes in so many ways. I am deeply grateful to you for the simple solution to a complex issue in writing… Making an old emotion sound fresh as though it is felt for the first time is simply not easy. This was easy to read, and it brought feeling immediately. Thank you

So glad you found it helpful, Charlotte!

I’m sorry but the first part was the right part for me. The second was way to long and I lost interest. I feel this is the problem often. To each their own offcourse, can’t please everyone 🙂

Damn, I was thinking the same! I enjoyed the first part so much better than the emotionless descriptions about how she had to bury Billy. The stomach rollover literally gave me a melancholic feeling which didn’t happen with “God wouldn’t do the same to her”

Thank you for this article. I would like to study some of the great novels for expression of emotion. Any recommendations?

Amazing advice! This is the toughest part of creating a flesh and blood character for me. How would u apply this to first person voice?

You can just change “she” to “I” and it’s the same thing, basically. There really is no difference between first person and third person when doing deep POV.

Yes, I cried. This is the most effective article I’ve ever read on the subject of “Showing” and I recommend it to writers often. Please, never take this post down!

I didn’t mean to make you cry, J.D.! 🙂 I’m glad you found it helpful. God bless!

Still taking this article in. Have printed it off for easy reference and example. Thank you for posting this.

Stephen King does it well, by getting the protagonist to get involved deeper and deeper into an emotional state which reach a tempo unbearable.

My pleasure, Virginia. I’m glad you found it helpful.

Some good points in the way you show emotions. “Her heart nearly leapt out of her chest.” This one looks too cartoony, and nearly is an adverb [use prohibited by good writers I am told.]

The occasional adverb is acceptable, but you’re right, the line is cartoonish. That’s one of my issues with all the physiological reactions to “show” emotions–they’re exaggerated, often to the point of becoming ridiculous.

Wow, this is good writing. Hair literally stood on its ends, as I read the second rendering, even though I knew baby Jane was safe from reading the first version.

Amazing bit of writing. Thanks for the article.

But isn’t this kinda too intense for a reader? I can read the occasional paragraph like this but as a reader, I would be a nervous wreck if I had to read an entire full length novel written in this style.

Sometimes, maybe the tell is much better than show – like those ‘implied’ scenes in movies, rather than an explicit scene.

Would you recommend that a writer sticks to this POV for the entire novel or only use this occasionally? And if the latter, what kind of scenes might call for this?

Hi Badri, of course you wouldn’t have this intense a moment in every single scene in a novel. Novels should have low-energy and high-energy scenes, low- and high-action scenes, low- and high-emotional scenes. As far as POV goes, that applies to the viewpoint: whether you are in first, second, or third person. I’m not sure what you are asking, but if you mean going into deep or intimate POV, that’s a style choice and would be consistent throughout the novel.

Like CS said, not all scenes are this intense. The point is to show emotions through thoughts and actions rather than through physiological responses. So if your character is feeling happy, show the happy thoughts. If she’s feeling angry, show angry thoughts. It wouldn’t be appropriate to get this deep into every emotion, though. That could be cumbersome.

I am a very later bloomer in writing (and reading as well, I’m embarrassed to say). When I would read anything that invoked emotions as a child or young adult, I could not handle it (due to many different things going on in my life). But I am now at a different place and I am finally discovering how much I enjoy reading, well, I really mostly enjoy reading that makes me feel the emotions like your posting did.

In your first take I was thinking, oh get over it already lady…I never really liked babies anyway, we all gotta die sometime…etc… (lol, exaggerating here of course). But in your revised version, I was on tears and on the edge of my seat, thinking, that poor mother…that poor little baby…no no no…nothing can happen to that beautiful little baby…

I was shocked at the difference of my own response.

I have contemplated trying to become a writer and this posting has inspired me so much. This is now my goal – to write something that makes a reader feel this much emotion. Thank you sooooo much for sharing this.

The author of the article did a magnificent job conveying her lesson. I would offer a little insight into child loss, however. A parent never gets over losing a child. It will not happen, as a part of their heart has been torn away, outside of the natural order. Even though you may not know the experience, please do not belittle it, or those going through it. Good luck with your writing, as you walk this path with us.

I understand the concept behind it the “after”, but I have woken up before worried my baby was dead because she slept through the night… and the last thing I would have done is slip on my cozy slippers. I definitely didn’t take 10 minutes to think about if she could be dead before checking on her. So in reality — the before felt a little closer to truth to me, it was just felt a little extreme on the visceral emotions. Maybe it is just me.

Thank you for the article, even though the example didn’t resonate with me, it was an excellent example to get the point across.

I’ve been writing novels for over a decade. Finally,I understand it is the process rather than the physical manifestations of an emotion, alone, that conveys emotion to the reader! Thank you for such an intriguing insight, and thank you to my editor Beth Terrell for steering me to your blog.

Glad you arrived here! Be sure to check out my online course, too, as it goes way deep with 40+ passages examined!

So glad you found the post helpful, Jennie!

What I was able to read of the AFTER piece was wonderful. Unfortunately, the situation hits far too close to home for me, and I couldn’t finish it. You absolutely nailed it, though. The first one did not bring forth the same emotion in me the second one did. Further, the emotion built as you advanced, thus my reaction. Yes, I shed a few tears before I was able to write this reply. Thank you for this article, the insight and the advice. I will take this to heart, as I continue learning the craft.

Thanks for sharing those sentiments. I’m sorry this was/is painful for you.

I’m sorry for raising these painful memories for you. Thanks for the comment. God bless you.

Please, don’t be sorry. It is a part of life for parents who have lost a child. However, the way you wrote the piece was marvelous. That it was so powerful is a testament to the example you built. Well done. It is a wonderful lesson.

To answer the question on what stood out the most, I would say it was the last sentence. It was the baby smiling that gave me the strongest emotional response. Starting to read the text, I didn’t really “plan” to get a tear in my eye, because I find it all too easy to shield myself from the sad stuff, even though I would like to feel more directly. But fortunately, the moment of beauty and joy in the end got to me. It took me by suprise and managed to break through my shield. I will try to incorporate this in my own writing.

Fantastic article and it helps me a lot. At the point when I write, I attempt to recollect what I feared or what was terrifying to me and attempt to place those sentiments into books.

Omg! I loved this, thank you so much for sharing.

The same old story, to show emotions with your characters. SHOW don’t TELL!!!

Excellent post. It is feasible to submit no mix-ups and still lose. That isn’t a shortcoming; such is reality. This article really helps me a lot. Thanks for posting.

This was a very engaging post. It has provided me with new information and now I have a better idea of how I can represent emotion within a fictional character. Also, the example that you provided was written so well! You have given me so much inspiration and I can tell that you are a very hard worker and are dedicated to what you do. Thank you so much.

You’re very welcome!

I’m so glad, Elise, that you found the post helpful! God bless you and your writing.

I think I’m missing something. Can anyone please clarify the differences between the two examples because they both use body language to indicate emotions. If anything, the before seems better because it includes body language *and* internal reaction. The after only uses body language.

The article explains what the differences are and why using thoughts is so much more emotionally effective than showing body language. The After version uses no body language (physical tells). The thoughts are what get readers to understand and empathize with characters.

Neither the Before or After work. As for the Before, who writes like that? Must be a really rank beginner. As for the After, I spent the whole time while reading it thinking, “Not only is this ridiculously long, but no panicked mother is going to take the time to slip into her robe, put on her slippers, and have a coherent thought-stream going through her head about what happened to her other child.” No. She’s going to dash to her baby. Time for these other thoughts–or rather, an abbreviated version of them– can come as she’s cuddling her child. Perhaps better yet, put these kinds of thoughts in an earlier chapter, as background material. Then she can just fly out of bed and run to her child, and some further reflection can come when she’s found the baby safe. This is a time to act, not reflect.

Thanks for your comments. Everyone is different, and depending on the kind of character we create, they will respond differently. I would be exactly like that second example. I did similarly when I woke and hadn’t heard my baby cry at night. I put off going in as long as I could. Of the hundreds of writers I’ve shared these examples with in workshops, 99% agree with the second one as the more moving, effective, and believable example. As I said, everyone is different. But it’s all about your character–her past, who she is, etc. You might try to write this scene and then run it by critique partners and see what their response is to the way you present the character. It might be enlightening!

As a fairly new writer, I have a question that might seem silly, but it’s one that I’ve often debated. I have a tendency to spend way too much time on the scenes as I write them. I’ll go back, and back again, until I feel like it’s perfect … until I don’t. At this point I am 15,000 words in and have probably spent enough time on the chapters that I have done to have completed two novels.

Experienced writers, keep telling me to just write, and finish the first draft. Do you feel it would be appropriate to draft scenes like example #1 and then come back to add emotion like example #2 during the second draft? After reading your article, I have found myself going back to my completed chapters once again, and looking for opportunities to add emotion. I don’t feel like this is productive. Any advice?

I hear you! I constantly rework and edit as I go along, and usually by the time I complete a draft, it’s finished except for proofreading. However, I always push to make progress. If you set a goal to write at least one scene, however rough, every time you sit down, you can give yourself permission to go back and noodle with whatever you’ve written–that scene or a prior one–to polish it more. But the point is to make progress. If the problem is you are “pantsing” and don’t have a strong outline such that you don’t know what your next scenes will be, that can cause a lot of procrastination. Work on a scene outline (with me!) and get it tight. Then it won’t create a barrier to you getting those next scenes written. Usually redoing scenes over and over is due to not feeling confident where the story is going 🙂

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10 Essential Lessons You’ll Learn in a Creative Writing Workshop

by Melissa Donovan | Jul 11, 2023 | Creative Writing | 9 comments

What can you learn in a creative writing workshop?

When I look back over all my years of formal education, from preschool through college, only a few classes stand out as truly educational in a life-changing way.

In sixth grade, we did a section on space, which fascinated me. I retained a lot of what I learned. Later, I took astronomy and learned even more about the universe. A class on women writers exposed me to a whole world of literature I didn’t know existed. And two writing workshops (poetry and creative writing) put me on the path to becoming a professional writer.

The main difference between a regular class and a workshop is that a workshop is interactive. You work together with your fellow students, critiquing each other’s work, asking questions, and exchanging insights. Whatever you can learn from a single instructor is multiplied by all the knowledge and wisdom you gain by sharing ideas with a roomful of your peers.

What You Can Learn from a Creative Writing Workshop

2. Find out what your writing strengths are. The best part about receiving critiques from your peers is that they tell you what you’re doing right, which is reassuring. When you know that your writing skills have a solid foundation, it’s easier to accept that you still have work to do.

3. Accept the weaknesses in your writing. No matter how good your writing is now, there are things you can do to improve it. When ten of your classmates agree that certain elements in your prose need touching up or that you need to hit the grammar books, all you can do is accept it and dig your heels in.

4. Learn to handle critiques of your work. The first few critiques might be a bit rough, but once you see how all the suggestions make your writing better, you’ll start looking forward to them. You’ll learn how to separate yourself from your work, and you’ll be able to not only handle but actually embrace (and look forward to) critiques. This will also prepare you for real-world critics and their reviews.

5. Help others improve their work. When other writers put your suggestions into action or express appreciation for your recommendations and then tell you that your feedback helped them improve their writing, it feels good, especially when the arrangement is reciprocal.

6. Meet people who share your passion. There’s nothing like sitting in a room surrounded by people who are just as excited about writing as you are. It’s not only inspiring, it’s comforting. Plus, it’s a great opportunity to meet like-minded people, some of whom may become lifelong friends, writing partners, or your future writing group.

7. Improve your writing. This, of course, is the main reason most people take a creative writing workshop. The ultimate goal is to become a better writer , and a workshop will definitely do the trick. You’ll also put a lot more effort into everything you write because you know it will be scrutinized, and this builds excellent writing habits .

8. Adopt new writing techniques. Between the instructor and your peers, you’ll discover all kinds of interesting new writing tools and techniques, often simply through the course of discussion as well as through observing everyone’s work.

9. Get access to a mentor. The person running the workshop should be knowledgeable and experienced in the world of writing. Maybe the instructor is a published author, or maybe it’s someone who’s worked as an agent, editor, or publisher. This access to a mentor is priceless. Take advantage of it!

10. Gain experience and get a lot of creative writing practice. This is one of the most valuable benefits of a creative writing workshop. When writers work on their own, they tend to procrastinate, get distracted, and generally don’t finish most of the projects they start. But in a workshop, you’re forced to get it done. This gives you lots of great experience and practice, and it also builds good writing habits.

Thinking About Taking a Creative Writing Workshop?

I definitely recommend taking a creative writing workshop if you can find a good one that suits your schedule, budget, and writing needs. If you’ve already taken a creative writing workshop or class, share your experiences by leaving a comment. Did you learn or gain anything? Would you do it again?

You have spoken along these lines before, Melissa, and this entry is, as all your posts, fascinating and carries a great deal of sense. However, and I know I am repeating myself, I am quite unable to allow others to trample over my work, however poor it is and however noble their (expressed) motives.

I cannot help but think of the vast number of ‘real’ writers, men and women who would not have entertained the thought that writing could be learned, like arithmetic, in a classroom.

I am a poor writer and have come to accept the fact I shall always be a poor writer; it is my belief that some things – like arithmetic – can be ‘brought to heel’ by sheer hatd work, while others, like music, painting and writing, will remain ever beyond the reach of some.

Further, I have seen very promising young tennis players taken up by organisations such as the LTA and coached, every shred of flair and originality brutally ‘ironed out’ of them, and my fear is that, for many of us, attending a writer’s workshop would be a similarly dulling experience.

I also realise, however, that there are those of a temperament to survive – and evn thrive in such conditions. Sadly, I am not one of them.

Again, my thanks for a fascinating and informative blog and may it go on to even greater success, but I think you should make it clear that not everyone who has pretensions of being a writer will see their dream come true.

I believe anyone can become a writer. It starts with believing in yourself. I would add that successful authors demonstrate a range of writing skills. Even a “poor writer” (which you are not) can eke out a career in writing. I’ve seen it done. The only way to be sure you will never succeed is to never try.

Writing can be intended for a wide audience but it’s reason for being is that the writer cannot bear not to write. Whether you are a Eudora Welty, basking in prayers se or an Ethel Jackson whose writing fills notebooks only she has seen, your work has much value

Our local university has leisure learning classes that are workshops. We not only get feedback on our work, but we also learn how to workshop a piece, looking parts of the writing process with a discerning eye. The instructors keep the focus on the work, not the author. It’s so helpful for all the reasons you mentioned, but also to learn how to look constructively at my own work before anyone else ever reads it. Being inspired by fellow writers talking about writing is my favorite part. I’m sorry that opsimath feels that way. Whose to say what’s poor writing or good writing? Of course, some is obvious, and the above comment isn’t bad writing. I found it to be well-crafted and conveyed what the author intended. Not everybody is Stephen King or F.Scott Fitzgerald, and there are some who would argue even they aren’t good writers. I had the fear that I would lose myself in critique, but even in that it’s a good exercise. One of my best lessons is that no matter what others said, it’s still my writing. I can choose to take their advice or not. Workshops are only helpful when the focus is on the work, though. It’s a criitique, not a criticism. I’ve been in bad ones and they can hurt more than help. I got out of them quick.

Yes! Everything you said is spot-on. Your experiences in workshop give all of us reason to feel optimistic about finding good writing workshops and the benefits that we’ll gain from them. Thanks so much for sharing your experience. I hope it inspires others to take the plunge and try workshopping for themselves.

You have talked thusly some time recently, Melissa, and this section is, as every one of your posts, interesting and conveys a lot of sense. On the other hand, and I know I am rehashing myself, I am very not able to permit others to trample over my work, however poor it is and however honorable their (communicated) thought processes.

I really want to think about the incomprehensible number of “genuine” essayists, men and ladies who might not have entertained the prospect that written work could be learned, similar to math, in a classroom.

I am a poor essayist and now acknowledge the actuality I should dependably be a poor author; it is my conviction that a few things – like math – can be ‘conveyed to heel’ by sheer hatd work, while others, similar to music, painting and composing, will remain ever past the compass of some.

Further, I have seen extremely encouraging youthful tennis players taken up by associations, for example, the LTA and instructed, each shred of energy and innovation mercilessly ‘resolved’ of them, and my trepidation is that, for a significant number of us, going to an author’s workshop would be an also dulling knowle

Hi Shamit. Receiving feedback and critiques is not the same as people trampling all over your work. A good critique is designed to make your writing better. If you want to be a better writer, you can certainly work toward that. It’s your choice. There are people who have a natural talent for writing. However, great writing requires a lot of different skills (grammar, storytelling, word-craft, etc.). Even the most talented writers will find some area of the craft where they need to learn skills they don’t possess. The idea that writing can’t be learned is simply not true, as evidenced by thousands upon thousands of people who worked hard to learn the craft and then became successful. The myth that talent is a requirement is an unfortunate one.

A writer is someone who writes. However, the object of writing is not necessarily to get published or make a living by writing. Read, for example, the notebooks of Thomas Edison. One of the best writers I knew was my grandmother, who maintained weekly correspondence with seven high school girlfriends for over 50 years.

That’s true, Ann. People write for many reasons and not only for professional purposes.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Emotion Thesaurus Entry: Confidence/Pride

May 15, 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 .

CONFIDENCE/PRIDE

· Shoulders back, chest out, chin lifted · Giving a half-shrug and a grin that conveys agreement or secret knowledge · Flirting · Comfortable being in close proximity to others or initiating contact · Telling jokes, adding to or steering a conversation · Hosting an event or activity (a BBQ, getting the guys together for a football game) · Bragging, obsessively talking about an achievement or material object (winning a game, a new car, etc) · Reacting with anger or jealousy if one’s reputation is impugned · Doing or saying things outside of the norm without anxiety or concern · Leaning in to talk or listen · Maintaining good eye contact · Lots of physical contact, touchy-feely · Running the hands through the hair, flipping one’s hair · Assuming a pose that’s sexy, appealing, or draws attention to one’s best attributes · Wearing clothes that are flashy or dramatic…

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.

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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

July 17, 2014 at 8:02 am

I love all of the examples provided for all of the emotions. They certainly help to get the creative juices flowing! One suggestion though, if I may, the entries for confidence/pride seem to be influenced mostly by social interactions, where there are other people involved alongside the character. I was wondering if you could include some entries inspired by an increase in confidence of one’s abilities in a dangerous situation? For instance, the character had been held captive but discovered a way to escape, or gained the upper hand, how would the character show this? Thank you! Your work is wonderful! It is helping so many writers like myself and it is all adored and appreciated! Thank you again

July 17, 2014 at 12:40 pm

Hi Rebecca, so glad you’re finding our site useful. In the scenario you suggest, I think you’d see a lot of self talk to sort of move past one’s fear and do what needs to be done. I would say increased focus, economical body movements, body tension, ignoring distractions, giving oneself almost a physical shake or shaking out the hands to sort of have a physical way of “pushing” fear and doubt at bay would be typical. You’ll find a lot more suggestions (4 pages worth) to show both Pride and Confidence in the Emotion Thesaurus book–this here is just a very basic sample of ideas. If you like, look at the “look inside” feature at Amazon as they have a good sample of entries to show how we profile different emotions in depth. 🙂

Happy writing!

April 3, 2012 at 1:21 pm

Amazingly useful – thanks very much for putting it together.

May 17, 2008 at 7:29 pm

That’s something that has been interesting in compiling these lists–and challenging too; so many gestures can have multiple emotional meanings, depending on the context.

And thanks for the kudos, people :).

May 17, 2008 at 9:46 am

Interesting. I sometimes have male characters running their hands through their hair, but it didn’t occur to me that this might be a sign of confidence. Maybe it’s a sign of vanity as well – as in, “look at my great hair, not receding… yet!” 🙂

May 15, 2008 at 10:16 pm

I know you know this, but I’m saying it anyway. This thesaurus is awesome!! Thanks for putting it together.

May 15, 2008 at 2:08 pm

NIcely done! I’ll bookmark this one, too! 🙂

Hugs, Donna

May 15, 2008 at 1:01 pm

These are great. Eye contact is a biggie with confidence. Excellent list!

[…] Conveying Confidence & Pride […]

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Personification Examples to Make Your Writing More Interesting

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Like other forms of figurative language, personification can make your writing more dynamic. By giving human qualities to inanimate objects, you can uniquely describe situations that will resonate with your reader.

Read on to learn more about the literary device through personification examples .

What Is Personification?

Why use personification in your writing, 5 personification examples, famous examples of personification.

Personification is a literary device that gives human traits and emotions to nonhumans, like animals, objects or an abstract idea. It's more common to use personification in creative writing than in other types of writing, such as medical or business contexts.

According to Merriam-Webster , human beings have long used personification:

Personification vs. Anthropomorphism

Personification is not the same as anthropomorphism, which is the literary technique of portraying animals, plants or objects behaving like humans.

You can see an example of anthropomorphism in "Fantastic Mr. Fox," a movie in which animals talk, wear clothes and plan elaborate schemes just as the human characters do.

Giving objects or animals human emotions can help the reader form emotional connections to nonhuman figures. As with other literary devices, personification can also help paint a more vivid picture of a scene or make abstract ideas more accessible.

Charles Dickens, who employed personification regularly, saw these human attributes in everyday life. "This is a lesson taught us in the great book of nature," he said .

"This is the lesson which may be read, alike in the bright track of the stars, and in the dusty course of the poorest thin that drags its tiny length upon the ground. This is the lesson ever uppermost in the thoughts of that inspired man, who tells us that there are Tongues in trees, books in the running brooks, Sermons in stones, and good in everything."

Lastly, personification can make your writing more engaging, especially if you give unexpected human characteristics to an inanimate object.

Here are a few examples of personification.

• Talking about the strength of the wind : As the rain died down, the wind only whispered.
• Explaining how loud your alarm clock was : The alarm clock shouted at me, jolting me awake.
• Describing the flickering of a candle : The candle flame danced a lively polka.
• Showing that you use your running shoes a lot : The shoes, tired from weeks of preparation, carried me to the finish line.
• Demonstrating the size of a mountain : The mountains stood tall, inspiring fear in the hikers.

Authors regularly use personification in their works. Here are a few famous examples.

From "The Handmaid's Tale" by Margaret Atwood

From "a christmas carol" by charles dickens, from "the giving tree" by shel silverstein.

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Getting Write Down to It: Passion and Purpose in Writing

A personal perspective: writing as an art form..

Posted June 2, 2024 | Reviewed by Lybi Ma

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• The act of writing is an art form that involves willingness to be part of a larger conversation.
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If we think about writing as having the privilege of entering a conversation and pushing it in the direction we think it needs to go, then writing—yes, even academic writing—becomes creative. It becomes our own art form, if you will. It gives meaning to our lives and is one of the ways that we contribute to the world.

Once we recognize that our writing is an art form, we need new ways to judge ourselves and our productivity . Should a painter’s worthiness as an artist be determined by how many pieces they landed in a juried show in the last year? When we think of an artist’s career , we see the arc of their art over time. Similarly, as academics, we write over the arc of our careers. It’s the way that we—as people involved in the front lines of knowledge production, construction, and consumption—make art.

Publishing monographs and articles in top-tier journals is a fine goal—in fact, even necessary sometimes to get or keep a job. But publishing isn’t the only reason for writing any more than juried exhibitions and winning awards are the sole reasons an artist goes to paint. The painter finds at least as much, if not much more, nourishment and fulfillment in the process of making art as in the external recognition, however validating and joyful those accolades. Indeed, dreaming of accolades is rarely why an artist sits down to paint. The painter makes art to thrive, to share the meaning they find in the world with others. So, too, if a writer recognizes their work as their art, they sit down to do it to share their gifts with other people and society in general. And the process of writing itself becomes a way to thrive, to contribute to the world.

To take our writing seriously, we must think about it as a core part of our life’s work. We often write for our peers, sometimes for our students, and sometimes for audiences outside of academia. Once we have confidence in our writing, that paves the way for more outward-facing scholarship, bolstering the possibility of becoming a public scholar.

Once we take seriously our art form—or craft, if the word sounds more apt or comfortable—we must make time for it. When we finish a research project, we must realize that good writing takes care, thought, and loving attention to words, phrasing, and paragraph construction. Knowing that it takes time, and is worth the time, can boost our confidence. Good writing brings our ideas, and our findings, to life.

With all of the competing demands that students, colleagues, and our increasingly bureaucratic administrations in higher education impose on us, writing can be something we can claim as our own. While our course material is housed in learning management systems with accompanying questions of control over our intellectual property, and committee work is in service to the institution, the writing we do is ours. And the time we claim for it—for cultivating and honing it—is time we’ve declared, if only to ourselves, as precious and sacred, reserved to nurture ourselves and our ability to contribute to those around us. There’s something very liberating about that.

In sum, while many faculty members see the “publish or perish” message as exemplifying the competitive pressure of an academic career, making the time to enjoy the process of writing is an antidote to some of what has become the drudgery of university life. It reminds us what turns us on in our fields of study and motivates our inquiry in the first place.

A version of this post also appeared in Inside Higher Ed with Barbara Risman.

Deborah J. Cohan, Ph.D., is a professor of sociology at the University of South Carolina-Beaufort where she teaches and writes about the intersections of the self and society.

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‘Creative writing can be as impactful as an academic paper’

Grassroots initiatives can promote visibility of marginalised groups, self-expression and community, writes Emily Downes. Here are her key tips from running a creative writing competition to mark LGBTQ+ History Month

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Last year marked two decades since the repeal of Section 28, a UK law that prohibited what was described as “the promotion of homosexuality” by local authorities. What this meant, in practice, was that generations of LGBTQ+ children grew up with no safe access to information about LGBTQ+ issues, no role models, no representation. They had no indication, in fact, that they could have a successful life that included employment, acceptance and community. 

Surely, as hubs of knowledge production, higher education institutions have a social and ethical responsibility to actively repair some of the damage wrought by this law. As LGBTQ+ staff in the sector continue to report  discrimination and erasure , are we providing enough opportunities for our students to see their own lived experiences roadmapped and reflected? 

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While institutional support and backing are essential in amplifying LGBTQ+ representation and visibility, staff on the ground can also make an impact through grassroots initiatives. And where better to push back against the fearmongering of Section 28 than from a place of love? For author, theorist and educator  bell hooks , all key social justice movements have promoted a love ethic: a practice that seeks to use knowledge, responsibility, care, trust, respect and commitment. How might that look in your professional context? 

In mine, I have had the privilege of coordinating a creative writing competition for LGBT+ History Month . Here’s some of what I learned.

Knowledge and responsibility

It’s natural to feel powerless against discrimination. However, take heart – there’s no one defining form of activism. You may not feel you have the capacity or physical ability to protest in the streets or the wherewithal for a strategic campaign. That doesn’t mean you have nothing to contribute to the cause of a more inclusive landscape in higher education. We each have our own offering of knowledge, skills and interests to share. These needn’t exclusively be academic pursuits.

What brings you joy? Perhaps it’s a gentle walk in nature or listening to a podcast or crocheting. I’m partial to all three…and I also enjoy using writing to make sense of my inner and outer worlds. A couple of years ago, I started facilitating LGBTQ+ creative writing for well-being sessions in my local community. Last year the chair of our university LGBTQ+ focus group asked if I would use this experience to make our campus more inclusive. We agreed that I would deliver a drop-in session exploring the importance of queer representation , and that I would coordinate a creative writing competition around the same theme. As a “late bloomer” bisexual who grew up with a dearth of positive representation, I felt a responsibility to be visible in our university community. I had first-hand experience of the possibilities that creative writing affords for healing and growth. I am also well aware of how stifling and impenetrable academic writing can feel for many. I saw the creative writing competition as an opportunity to put self-expression firmly back into the hands of a marginalised community. 

Care and trust

Over the past two academic years, I have gained important insights into developing the competition process with care and establishing trust with our participants. Working with students with protected characteristics means a vital aspect of care is gaining consent at multiple stages. For trans students , for example, being named in certain contexts could have immediate and severe material consequences. One student sought me out during graduation week last year to ensure they would be  dead-named – otherwise, they said, they wouldn’t be able to return home with their parents after the ceremony. 

This has fed into my experience with the competition. Just because someone has entered doesn’t mean they will feel willing or able to be named in a university update or read their piece at a public event. However much you think you’ve tied up loose ends, please double-check. It’s better to be mildly irritating with an abundance of care.

That said, please don’t let the need for caution be off-putting. Demonstrating this level of care is foundational to developing trust. Repeatedly checking in with participants about how they are represented also helps to build a sense of agency they may not always feel they have in wider society. Liaise with those in your initiative whenever a new context arises in which they may be named. 

Respect and commitment

University community members who participate in our writing competition are occupying a  brave space , and this demands our respect. We value our staff and students’ intersectional identities and recognise how vulnerable it can feel sharing those parts of yourself in your place of work or study. I have shared some of my own LGBTQ+ journey during the drop-in sessions. Another sign of respect has been the active and enthusiastic engagement from our executive director of communications and development, who has sat on the judging panel both years. Having buy-in from senior management is indescribably validating not just for our entrants but for the wider LGBTQ+ community at the university.

Commitment to such an initiative can take many forms, the most essential of which are reflection and learning. For example, our inaugural winner, Allison Rosewood, submitted a non-fiction piece about becoming the trans role model she had always sought herself. We platformed her work at the university Pride event – she was unable to speak in person, so we recorded her reading her work and played it during the Pride Literary Hour. We invited Allison to sit on the 2024 judging panel, and the award has been named the Allison Rosewood LGBTQ+ History Month award. Now, our winner will always be invited to read at Pride and to sit on the panel. Allowing the project to evolve has helped create space for students to have their experiences and identities validated, and to build an archive of visible role models. 

This year, our prompt invited entrants to imagine a world where Section 28 had never existed. Mac McClelland’s winning entry,  Brianna , is staggering. The piece eloquently draws a line from past to present, highlighting just how far-reaching and damaging legislation in this vein can be. Opening the door for this creative expression has resulted in something that, in my opinion, is as impactful as an academic paper. 

Knowledge, responsibility, care, trust, respect and commitment, then…what’s coming to mind for you? Perhaps you owe it to yourself and your community to explore your own initiative. One caveat to this: please also apply a love ethic to yourself. Does the thought of a project like this make you weary? You may be running low on reserves, especially as we so often expect members of marginalised communities to advocate and enact positive change themselves. Someone else can take up this mantle, and that’s fine, too. 

The legacy of Section 28 is a traumatised, under-represented LGBTQ+ community and a wider UK society that still often struggles to accept those living outside a heteronormative, cisnormative version of reality. But if you do have the energy and resources, projects like ours can be transformative for individuals and institutions. As bell hooks wrote: “When we are taught that safety always lies with sameness, then difference, of any kind, will appear as a threat…The choice to love is a choice to connect – to find ourselves in the other.” Let’s work to make our institutions a place of connection and relish all the richness of experience that entails. 

Emily Downes is senior student success tutor (academic writing) and LGBTQ+ Focus Group co-chair at Teesside University.

If you would like advice and insight from academics and university staff delivered direct to your inbox each week,  sign up for the Campus newsletter .

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How to Describe Crying in Writing (21 Best Tips + Examples)

There is a lot more to describing crying than simply saying “He wept” or “She cried.”

You need to create a vivid, heart-rending image in your reader’s mind.

Here’s how to describe crying in writing:

Describe crying in writing by noting the physical signs (tears, facial expressions), underlying emotions (joy, sadness, frustration), and aftermath of crying. Capture the reason for crying and add unique details to convey the depth of the character’s emotions.

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

1. Understanding the Tears

Table of Contents

Tears aren’t just drops of salty water that stream down your face.

In literature, they can symbolize a wide range of emotions – joy, grief, frustration, relief, fear – you name it.

They’re a natural response to emotional stimuli, and as a writer, it’s essential to understand their significance.

Crying is often seen as an intimate act, a window into a character’s most vulnerable moments.

Therefore, describing the tears themselves can be an effective way to convey the character’s emotional state to your readers.

Are they streaming down like a river, or are they just welling up in the eyes, threatening to spill?

Example: Her tears welled up slowly, refusing to fall, just like her pride. She was hurt, but she was not yet broken.

2. Body Language Tells a Tale

Body language is a powerful tool to portray crying in your writing.

When a person cries, it isn’t only about the tears. Their whole body can be engaged in this emotional expression.

Slumped shoulders, clenched fists, shaking body – these can all hint towards the internal turmoil.

Remember, each character is unique and their body language while crying will reflect their personality.

A reserved character might curl up, hugging their knees while a more expressive one might throw their hands in the air in despair.

Example: As he began to cry, his body hunched over, as if carrying the weight of his unspoken grief on his shoulders. His clenched fists were the only telltale sign of his silent struggle.

3. Listening to the Sound of Crying

The sound of crying can be as telling as the sight of it.

Some people wail loudly, while others may whimper softly. The volume, tone, and rhythm of the crying can reflect the intensity and nature of the emotions the character is experiencing.

Consider your character’s circumstances and their personality when describing the sound of their crying.

A character who is desperate might cry out loud, while a character who is trying to hide their feelings might suppress their sobs, creating a choked, stifled sound.

Example: Her cries were barely audible, like the soft whispers of the wind on a cold, lonely night. But each stifled sob echoed the loud, resounding ache in her heart.

4. Crying In Solitude

The setting of a crying scene can provide a deeper understanding of a character’s emotions.

When a character cries alone, it often suggests that they are not comfortable showing their vulnerability to others or that they prefer dealing with their emotions privately.

Crying in solitude can be depicted as a deeply personal moment of reflection, grief, or even relief.

It allows the character to fully express their emotions without the worry of judgment or expectation.

As a writer, make sure to describe the setting in a way that reflects the character’s state of mind.

Example: Alone in her room, she finally allowed her tears to fall. Each tear was a silent testament to the grief she hid behind her smile each day.

5. Crying In Company

On the contrary, a character crying in the company of others can indicate a sense of trust or desperation.

They might be seeking comfort, or they may have been pushed to a point where they can’t hide their emotions any longer.

Describing a character crying in front of others provides an opportunity to explore interpersonal dynamics.

The reactions of those around can provide insight into relationships and individual personalities.

Example: He wept openly in front of his comrades, his usual strong facade crumbling. The room was filled with an uncomfortable silence, his friends unsure how to comfort their usually stoic leader.

6. Cultural Differences

Cultural background can play a significant role in how a character expresses their emotions, including crying.

Some cultures view crying openly as a sign of weakness, while others consider it a natural and healthy expression of emotion.

As a writer, you can use this aspect to enrich your characters and the world they inhabit.

Be mindful, though, to research thoroughly and represent any culture accurately and respectfully.

Example: In his culture, men seldom cried. But as he watched his daughter walk down the aisle, tears welled up in his eyes. His heart swelled with a mixture of pride and nostalgia that transcended cultural norms.

7. The Physical Impact of Tears

Crying isn’t just an emotional experience; it’s also a physical one.

It can be exhausting and leave the character feeling drained, or it might provide a sense of relief and release.

Describe the physical sensations associated with crying – the heat of tears on the face, the ache in the throat, the headache that follows a long bout of weeping.

This can make your description more realistic and relatable.

Example: As her sobs subsided, she was left with a lingering headache and a rawness in her throat. But amidst the physical discomfort, she felt a strange sense of relief.

8. The Reason Behind the Tears

Tears often come with a story.

Understanding and conveying the reason behind a character’s tears can create an emotional connection with the reader.

It’s not just about the act of crying, but the trigger that led to it.

Is it a reaction to a personal loss, an outcome of immense joy, or a response to a stressful situation?

Answering these questions in your writing can bring depth to your characters and their emotional journey.

Example: The tears that streamed down his face were not of sadness, but of joy. He had finally achieved his dream, the dream he had worked so tirelessly for. His tears were a tribute to his relentless pursuit and hard work.

9. The Aftermath of Crying

Crying can leave a character feeling various emotions such as relief, embarrassment, exhaustion, or even more confusion.

Describing the aftermath of crying gives your narrative a sense of progression.

It also provides a deeper look into the character’s psyche.

You can describe the character’s physical appearance after crying, their thoughts and feelings, and their subsequent actions.

This aftermath can be just as telling as the crying scene itself.

Example: After the tears, she felt an eerie calm. Her face was blotchy, her eyes red-rimmed, but her mind was clear. She picked herself up, squared her shoulders, and decided to face her challenges head-on.

10. Gendered Tears

Societal norms and stereotypes often influence how characters express their emotions.

In many societies, crying is seen as a feminine act, and men are often discouraged from displaying such open vulnerability.

However, these stereotypes can and should be challenged.

Describing a male character crying can add depth and help break stereotypes, while describing a female character choosing not to cry can show strength and resilience.

Example: He sat on the floor, surrounded by the shards of his shattered past, tears streaming down his face. He didn’t care for societal norms that asked men not to cry. He was hurting, and he let it show.

11. Age and Crying

Age can affect how a character expresses their emotions.

A child might cry loudly without any inhibition, while an adult might try to suppress their tears.

On the other hand, an elderly character might cry out of loneliness, nostalgia, or physical pain.

Use age-appropriate expressions and behaviors while describing a character crying. This will add realism and depth to your characters and their emotions.

Example: The little girl broke into loud, unabashed sobs, her tiny shoulders shaking with each cry. She didn’t understand why her friend had to move away.

12. Cathartic Crying

Sometimes, crying serves as a catharsis for pent-up emotions.

It can be a healthy way for characters to release stress, pain, or frustration. Describing such a moment can be powerful and add a significant turning point to your character’s emotional journey.

The cathartic nature of crying can be accentuated by the relief a character feels afterwards.

The release of emotion can lead to clarity of thought, a renewed sense of purpose, or a deeper understanding of one’s emotions.

Example: She let the tears fall, each one washing away a little bit of the pain she’d been holding onto. When the sobs finally subsided, she felt a lightness she hadn’t felt in a long time.

13. Quiet Desperation

Not all crying is loud and noticeable.

Sometimes, it’s quiet, hidden – a symbol of silent suffering or inner turmoil.

Characters might cry in this way when they’re trying to hide their pain from others, or perhaps even from themselves.

The silent tears can be the most powerful, as they suggest a deep, underlying sadness that the character is struggling with.

Use descriptive language to paint this subtle, poignant picture in your reader’s mind.

Example: He cried silently, tears streaming down his face without a sound. It was the quiet, desperate crying of a man broken by his own thoughts.

14. Reflective Crying

Characters might cry when they’re immersed in deep thought, reminiscing about past events, or regretting missed opportunities.

This reflective crying can provide an excellent opportunity for character development.

While describing reflective crying, you can take your reader on a journey into the character’s past, revealing memories, regrets, and long-lost dreams.

It’s a chance to share backstory and character history, deepening reader engagement.

Example: As she looked at the faded photograph, a tear trickled down her cheek. Each face in the picture ignited a memory, a ghost from her past, and with it came a profound sense of loss.

15. Crying for Attention

Sometimes, characters might cry to draw attention, express their frustration, or manipulate a situation.

This isn’t necessarily negative.

It simply adds another layer to the character’s personality and their methods of handling situations.

When you describe such a scene, focus on the character’s intentions and the reaction they’re seeking to elicit.

This can create interesting dynamics and add a twist to your story.

Example: She started to cry, the tears coming easily. She knew her tears always made him uncomfortable, made him give in to her demands.

16. Symbolic Tears

Tears can often be used as symbols in your narrative, signifying much more than just sadness.

They can symbolize a pivotal change, loss, healing, or even joy.

They can be seen as a rite of passage, or a mark of resolution.

Use your creative liberty to imbue tears with symbolism. This can give your writing an added layer of depth, creating a resonating impact with your readers.

Example: As the rain started to fall, so did his tears. They were not tears of sadness, but of rebirth, washing away the old him, symbolizing a fresh start.

17. Fake Crying

Characters might resort to fake crying as a method of manipulation or deceit.

This can showcase a cunning aspect of their personality, adding an interesting dynamic to their character arc.

Describing fake crying can involve focusing on the character’s lack of genuine emotion or their exaggerated attempts to seem upset.

Pay attention to the other characters’ reactions as well, adding to the complexity of the situation.

Example: She squeezed out a tear, her sobbing loud and dramatic. The others watched, oblivious to her act, taken in by her convincing performance.

18. Contagious Crying

Crying can be contagious.

When one character starts crying, it might trigger a chain reaction, leading others to cry as well.

This can create an intense, emotional scene, showing the deep empathy between characters.

Describe the emotions and reactions of each character involved. This can be an excellent way to showcase relationships and shared sentiments among characters.

Example: As she broke down, her tears touched a chord in everyone’s heart. One by one, they all started crying, their shared grief creating a bond stronger than words could express.

19. Empathetic Crying

Characters might cry out of empathy, feeling the pain and suffering of others.

This can showcase their sensitive and compassionate side, adding depth to their personality.

When describing empathetic crying, focus on the character’s thoughts and feelings towards the person or situation they are empathizing with.

This can create an emotional and powerful scene, connecting your readers to your characters on a deeper level.

Example: As he listened to her story, he couldn’t hold back his tears. Her pain was now his, her tears reflected in his eyes.

20. Crying Out of Frustration

Frustration can often bring on the waterworks.

Your characters might cry when they are overwhelmed, stuck in a situation, or unable to express their feelings.

This can make them relatable, reflecting real human reactions to challenging circumstances.

Describing frustration-induced crying involves illustrating the character’s inner turmoil, their feelings of helplessness or irritation, and the ultimate release through tears.

Example: Overwhelmed by the sheer unfairness of it all, he started crying. Each tear was a silent scream of frustration, a desperate plea for relief.

21. The Weight of Unshed Tears

Sometimes, the most profound pain comes from the tears that are not shed.

Characters might hold back their tears due to fear, pride, or denial. The burden of these unshed tears can add a dramatic intensity to your narrative.

While describing unshed tears, focus on the character’s internal struggle to keep their emotions in check.

This restraint can speak volumes about their emotional state and character traits.

Example: His eyes were dry, but the pain in them was palpable. They were the eyes of a man who carried the weight of unshed tears.

How to Describe Crying Dialogue

Crying can significantly affect a character’s speech.

Words can be choked, interrupted by sobs, or can even seem more heartfelt. Describing crying dialogue can bring a higher level of authenticity and relatability to your character’s emotional state.

When a character is crying, their dialogue might be broken, breathless, or whispered.

Alternatively, their emotion might lend them a surprising strength, their words coming out loud and clear despite their tears.

This contrast between physical vulnerability and verbal resilience can create a powerful impact.

Example: “I… I can’t believe you’d… do this,” she stammered, her voice choked with sobs. Despite the tears that blurred her vision, her words held a strength that surprised even her.

How to Describe Happy Crying

Happy crying can be a beautiful contradiction to portray in your narrative.

It happens when joy, relief, or happiness becomes so overwhelming that it triggers tears. It’s an emotional high point that can really connect readers to the character’s joy.

When describing happy crying, focus on the positive emotion behind the tears.

The character’s tears can be warm, their sobs might be mixed with laughter, or their crying might be accompanied by a wide smile.

It’s a celebration of a happy moment, and the contradiction of tears of joy can add a beautiful layer to your narrative.

Example: He laughed as he cried, tears of joy streaming down his face. The happiness he felt was so profound, so overwhelming, that it could not be contained.

Words to Describe Crying

• Heartbroken
• Melancholic
• Grief-stricken
• Tear-streaked

Phrases to Describe Crying

• Tears streaming down their face
• Weeping uncontrollably
• Crying rivers
• Silent tears
• Eyes welling up with tears
• A flood of tears
• Sobbing their heart out
• Tears of joy
• Crying like a baby
• A waterfall of tears
• A single tear rolled down their cheek
• Crying their eyes out
• Eyes filled to the brim with tears
• Crying buckets
• Crying a river
• Tears stained their face
• Choking back tears
• Eyes glistening with unshed tears
• Sobs racked their body
• A tear trickled down their face
• Wetting their cheeks with tears
• Wiping away their tears
• Fighting back tears
• Bursting into tears
• Eyes red and swollen from crying
• A sob caught in their throat
• Overwhelmed by tears
• Uncontrollable weeping
• Hot tears burned their cheeks
• A lump in their throat

Some of these phrases describe powerful crying or heavy crying.

Here is a good video with more details about how to describe heavy crying in writing:

Final Thoughts: How to Describe Crying in Writing

Don’t forget to mix up your crying descriptions throughout your story.

The same type of description will get repetitive fast. Use different words, phrases, and techniques. Make the crying an expression of the theme, conflict, and character.

For more description guides, check out the list of articles below.

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