how to describe scared creative writing

BRYN DONOVAN

tell your stories, love your life

Writing Inspiration
Semi-Charmed Life
Reading & Research

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!

Master List of Ways to Describe Fear #master lists for writers free ebook #master lists for writers free pdf #master lists for writers free kindle #describing fear in a story #description of fear #great fear #how to describe fear #words describing fear

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

Master List of Ways to Describe Fear #describing fear in a story #description of fear #great fear #how to describe fear #words describing fear

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!

50 Spooky Writing Prompts and Horror Story Ideas #horror writing ideas #horror writing prompts #scary story prompts #Halloween writing prompts #dark fantasy story ideas #suspense story plots

Discover more from BRYN DONOVAN

Subscribe now to keep reading and get access to the full archive.

Type your email…

Heart-Pounding Moments: Describing Being Scared in Creative Writing

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Heart-Pounding Moments: Describing Being Scared in Creative Writing

Do you remember that heart-pounding moment when fear gripped you so tightly, your whole body seemed to freeze in place? It’s in those exhilarating seconds when we truly understand the power of being scared. Whether it’s the hair-raising feeling of walking alone in a dark forest or the bone-chilling sensation that something is lurking just out of sight, fear has a unique ability to captivate our senses. And as writers, harnessing that captivating emotion can bring a new level of intensity to our creative works. In this article, we will delve into the art of describing being scared in creative writing, exploring techniques that will send shivers down your readers’ spines and leave them hungering for more. So, buckle up and prepare to dive deep into the realm of heart-pounding moments.

Why Describing Heart-Pounding Moments is Essential in Creative Writing

The power of sensory details: paint a vivid picture, creating a chilling experience through emotion-driven language, building tension: crafting suspenseful scenes, the art of foreshadowing: leave clues for readers to unravel, crafting authentic characters: understand fear from within, 1. the dark and mysterious forest, 2. the abandoned asylum, experimenting with pacing and sentence structure to heighten intensity, frequently asked questions, closing remarks.

One of the key elements in creative writing is the ability to captivate readers and evoke emotions through vivid descriptions. Describing heart-pounding moments in storytelling is essential as it allows readers to experience the exhilaration and intensity of the scene, creating a powerful connection between the reader and the narrative.

By vividly portraying heart-pounding moments, writers can engage their audience on a visceral level. The palpable sense of anticipation and adrenaline rush evokes a range of emotions, from excitement and fear to joy and relief. These moments of heightened tension and suspense grab the reader’s attention, holding it tightly and ensuring they remain engrossed in the story.

Without the inclusion of heart-pounding moments, creative writing runs the risk of becoming dull and uninteresting. These moments act as accelerators, propelling the story forward and adding a dynamic element to the narrative. They inject excitement, keeping the reader eagerly turning the pages, hungry to discover what happens next.

Furthermore, by effectively describing heart-pounding moments, writers can convey the protagonist’s emotions and enhance character development. The reader witnesses the character’s bravery, vulnerability, or determination, making them more relatable and enabling a deeper connection. Through these moments, the reader becomes emotionally invested in the story, allowing them to experience the rollercoaster of emotions alongside the characters.

When it comes to writing, the use of sensory details holds immense power in captivating readers and bringing your words to life. By incorporating vivid descriptions that appeal to the five senses, you can transport your audience into the world you’ve created, immersing them in a rich and unforgettable experience.

How can you effectively utilize sensory details to enhance your writing? Here are some tips to get you started:

Engage all the senses: Don’t limit yourself to just sight. Describe sounds, smells, tastes, and textures to create a fully immersive experience.
Choose precise words: Select descriptive adjectives and adverbs that precisely convey the sensations you want your readers to feel.
Create mental images: Use metaphors and similes to make abstract concepts more tangible and relatable.
Appeal to emotions: Sensory details can evoke powerful emotions, so leverage this to connect with your readers on a deeper level.

By skillfully crafting your writing with sensory details, you can create a vivid tapestry that resonates with your audience long after they’ve finished reading. So, next time you sit down to write, embrace the power of sensory descriptions to truly paint a picture that will transport your readers to another world!

Utilize Emotion-Driven Language to Evoke Fear in Readers

When it comes to captivating readers and immersing them in a gripping narrative, harnessing the power of emotion-driven language can send shivers down their spines. By skillfully crafting words that invoke fear, you have the ability to trigger a visceral reaction that will keep readers hooked until the very end. Here are some powerful techniques to utilize in your writing to evoke fear:

Paint vivid and unsettling descriptions: Transport your readers into the heart of darkness by using rich, sensory language to detail the eerie atmosphere, chilling sights, and spine-tingling sounds that surround your characters. This will engross your readers and make them feel like active participants in the unfolding horror.
Tap into primal fears: To truly make readers shudder, appeal to their deepest fears and insecurities. Whether it’s fear of the unknown, loss, or personal vulnerability, identifying and leveraging these primal terrors will intensify the emotional impact of your storytelling.
Employ suspenseful pacing: Master the art of withholding and revealing information at precisely the right moments to create an air of palpable tension and keep readers on the edge of their seats. Gradually building suspense and releasing it in spine-chilling increments will maximize the fear factor and heighten their sense of anticipation.

To master the craft of evoking fear, it is crucial to infuse your writing with emotion-driven language that lingers long after the final page is turned. By skillfully utilizing these techniques, your readers will experience a thrill that will stay with them, leaving them hungry for more bone-chilling tales .

Building Tension: Crafting Suspenseful Scenes

Welcome to the world of crafting suspenseful scenes! In this post, we will delve into the art of building tension in your writing to create captivating narratives that keep readers on the edge of their seats. Whether you’re a novelist, screenwriter, or simply looking to add suspense to your short stories, mastering the art of building tension is a skill that will greatly enhance your storytelling ability.

To begin, let’s explore some techniques that can effectively heighten suspense in your scenes:

Keep your readers guessing: One key element of building tension is to create uncertainty. By withholding information or introducing unexpected twists, you can ignite curiosity and keep your readers engaged. Leave breadcrumbs of clues throughout the scene, but keep the ultimate outcome shrouded in mystery.
Employ the power of pacing: Varying the pace of your scene can greatly enhance tension. Slow, deliberate moments can build anticipation, while sudden bursts of action can jolt readers. Experiment with sentence length, dialogue, and descriptive details to maintain a balance between action and stillness, causing the tension to ebb and flow rhythmically.
Create a sense of impending doom: Foreshadowing is a powerful tool to subtly hint at future conflicts or dangers. It plants seeds of unease in the minds of readers, ensuring that tension simmers beneath the surface. Skillfully weave in foreshadowing elements, whether through cryptic dialogue or symbolic objects, to create an atmosphere of impending doom.

By incorporating these techniques into your writing, you will be well on your way to crafting suspenseful scenes that have readers eagerly turning the pages. Remember, building tension requires a delicate balance and a keen understanding of pacing. Practice and experimentation will hone your skills, allowing you to masterfully hold your audience captive with every twist and turn of your storytelling.

The Art of Foreshadowing: Leave Clues for Readers to Unravel

Foreshadowing is a powerful storytelling device that adds depth, suspense, and intrigue to a narrative. By subtly hinting at events or outcomes to come, authors engage readers in a captivating guessing game that keeps them hooked until the very end. Whether you’re a writer looking to enhance your storytelling skills or a reader fascinated by the inner workings of literature, understanding the art of foreshadowing can greatly enrich your reading experience. Here are some key points to consider:

Plant seeds of anticipation: Foreshadowing effectively plants seeds of anticipation in the minds of readers. By dropping subtle hints and clues throughout a story, the author creates an air of expectation, making readers curious and eager to uncover what lies ahead. These clues can take many forms, such as mysterious symbols, recurring motifs, or even subtle changes in a character’s behavior.
Establish a sense of inevitability: Foreshadowing can create a sense of inevitability, where readers feel that certain events are bound to happen. This can heighten tension and keep readers on the edge of their seats, eagerly waiting for the predicted events to unfold. The art lies in striking a delicate balance – dropping enough clues to make the eventual outcome plausible, yet not revealing it so explicitly that readers lose interest in solving the puzzle.

The art of foreshadowing lies in its delicate subtlety and the excitement it generates within readers. By skillfully leaving clues for readers to unravel, writers create an interactive experience that makes the story come alive. These breadcrumbs of anticipation, when sprinkled throughout a narrative, have the power to captivate and engage readers, leaving them with a sense of satisfaction and fulfillment when they finally connect the dots. So, next time you embark on a literary journey, keep an eye out for those cleverly placed clues, as they may just lead you to the heart of the story.

Crafting Authentic Characters: Understand Fear from Within

When it comes to developing truly authentic characters in your writing, understanding fear is an essential ingredient. Fear is a powerful emotion that can shape a character’s actions, thoughts, and motivations, adding depth and complexity to their personality. By delving into the depths of fear from within, you can create characters that resonate with readers on a deep and emotional level.

Explore the following aspects to better comprehend fear and infuse it into your characters:

Root causes: Every character has unique experiences that give rise to specific fears. Dive deep into their backstories to uncover the roots of their fears. It could stem from a traumatic childhood event, a personal failure, or even an irrational phobia.
Physical manifestations: Fear doesn’t just exist in the mind – it manifests physically too. Consider how fear affects your character’s body. Do they tremble, sweat profusely, or have difficulty breathing? Including these physical cues in your writing will bring your characters to life.
Internal monologue: Fear often triggers an internal dialogue within a character’s mind. Craft their thoughts in a way that reveals their fears and uncertainties. By exploring their inner voice, you can transport readers into the mind of your character and ensure a more immersive reading experience.

Choose the Perfect Setting to Amplify Fearful Moments

When it comes to creating an unforgettable experience, the setting plays a crucial role in intensifying fearful moments. From eerie haunted houses to creepy abandoned hospitals, there are numerous spine-chilling settings to choose from that will leave your heart racing and your imagination running wild. Here are a few spine-tingling settings that are guaranteed to amplify your fearful moments:

Venture into the depths of a dense, ominous forest cloaked in chilling shadows. Each rustle of leaves, the hooting of distant owls, and the murmur of unseen creatures will send shivers down your spine. With eerie whispering winds echoing through the mysterious trees, you’ll never know what lurks behind every corner. Let your imagination run wild as you navigate through an environment that plays tricks with your mind.

Step into the world of madness and despair as you explore an abandoned asylum. The crumbling walls and decaying rooms create an atmosphere of eerie abandonment and haunted memories. Feel the weight of the past as you walk down the long, dimly lit hallways, hearing the faint echo of forgotten voices. Your heart will race as you discover the remnants of forgotten treatments, old operating rooms, and ghostly patient records. This setting will amplify your fearful moments and leave you questioning what truly happened within those haunted walls.

Experimenting with Pacing and Sentence Structure to Heighten Intensity

In the realm of storytelling, pacing and sentence structure play a pivotal role in creating intensity and capturing the attention of readers. By experimenting with these elements, writers can effectively mold the atmosphere, build tension, and deliver a gripping experience. Let’s explore some techniques that can be employed to heighten intensity in your narrative:

1. Varying Sentence Lengths: Mixing long and intricate sentences with short, punchy ones can create a sense of urgency. The sudden shift in pace can evoke a feeling of unease and keep readers on the edge of their seats. Additionally, longer sentences can be used to provide detailed descriptions, while shorter sentences can deliver swift action or impactful statements.

2. Strategic Placement of Punctuation: The careful use of punctuation, such as dashes, ellipses, and exclamation marks, can enhance the intensity of a scene. A well-placed dash can indicate a sudden interruption or change in direction, while the omission of full stops through the use of ellipses can create a suspenseful pause. However, it’s important to exercise restraint and not overuse these devices, as it can lead to a disjointed reading experience.

Q: Why is it important to convey fear in creative writing? A: Conveying fear in creative writing allows readers to experience intense emotions, making the story more engaging and memorable. It adds depth to characters, creates suspense, and evokes empathy from the audience.

Q: How can we effectively describe fear in writing? A: Effective descriptions of fear in writing involve vivid language and sensory details, such as trembling hands, a racing heart, or a cold sweat. By using precise words and crafting realistic reactions, writers can make readers truly feel the characters’ fear.

Q: What are some techniques for building suspense in scary storytelling? A: Utilizing techniques like foreshadowing, cliffhangers, and unpredictable plot twists can effectively build suspense. Gradually revealing information while maintaining an element of mystery will keep readers on the edge of their seats, heightening the fear factor.

Q: How can writers evoke fear through setting and atmosphere? A: Writers can create a fearful environment by carefully choosing the setting and establishing a foreboding atmosphere. Descriptions of eerie landscapes, dimly lit rooms, or haunting sounds in the distance can enhance the reader’s sense of fear and unease.

Q: How can dialogue be used to convey fear? A: Dialogue can convey fear through realistic, trembling voices, stammering, or using short, breathless sentences. Characters expressing their deepest fears and anxieties in conversation can increase tension and make the reader share in their emotions.

Q: Is it important to balance fear with other emotions in writing? A: Yes, it is crucial to strike a balance. While fear is an essential element, incorporating other emotions like relief, hope, or determination adds complexity and makes the story more relatable. This mix of emotions resonates with readers on a deeper level.

Q: How can a writer effectively show a character’s fear without explicitly stating it? A: Instead of outright stating fear, writers can show it through physical cues like trembling, sweating, or a character’s inability to speak. Internal monologues or their actions – like avoiding a dark room or suspicious behavior – can also indicate fear without directly mentioning it.

Q: How can writers make sure their descriptions of fear connect with readers? A: To connect with readers, writers should use relatable experiences or fears that resonate with a wide audience. Utilizing universal fears like the fear of the dark, spiders, or the unknown can help readers personally relate to the characters and their emotions.

Q: How can authors use pacing to intensify fear in their stories? A: Varying the pace of the narrative, particularly during suspenseful moments, can heighten fear. Quickening the pace during a heart-pounding scene and slowing it down during moments of anticipation can evoke a sense of urgency, making the reader’s heart race alongside the characters.

Q: Are there any common pitfalls in describing fear that writers should avoid? A: Writers should avoid relying solely on clichés or overused phrases when describing fear. Instead, they should strive for originality and use unique descriptions. Additionally, it is important to use fear in a way that serves the story and characters, rather than just for shock value.

In conclusion, mastering the art of describing fear in creative writing can truly elevate the reader’s experience. By employing vivid sensory details and emotional connections, writers can captivate their audience and make heart-pounding moments truly come alive on the page.

Master the Art of Creativity: Inside Brainstorm Academy

Access Free Brainstorming Templates for Your Creative Journey

Reach out to us for sponsorship opportunities.

Welcome to Creative Writing Prompts

At Creative Writing Prompts, we believe in the power of words to shape worlds. Our platform is a sanctuary for aspiring writers, seasoned wordsmiths, and everyone. Here, storytelling finds its home, and your creative journey begins its captivating voyage.

32 Ways To Write About Fear

In this post, we have included 32 things for you to consider when you write about fear .

One of our most popular posts on Writers Write is 37 Ways To Write About Anger . We thought we would look at interesting ways to write about other emotions, including:

43 Ways To Write About Love
29 Ways To Write About Happiness
40 Ways To Write About Empathy
37 Ways To Write About Grief

In this post, we look at writing about fear .

How do we write about fear in an authentic way?

Fear is a vital response for human beings. If we didn’t feel fear, we couldn’t protect ourselves from threats. Our bodies and brains are wired to treat threats as life-threatening. This triggers an extreme fight-flight-or-freeze response.

Our fears are not solely dependent on instinctive responses. They are also shaped by our societies and cultures, which teach people when to fear and how much to fear.

Sometimes, our fear is unnecessary and we avoid doing things that could be beneficial to us. Sometimes, facing danger can result in lingering responses that trigger us to act in a certain way, even when the risk is gone.

The same is true for the characters we create. When we write about fearful characters, we should remember to write about them in a realistic way.

Here are 32 things to consider when you write about fear:

A) Physical Reactions

When we are afraid, we have these reactions:

An accelerated breathing rate
An accelerated heart rate
Increased muscle tension
Goose bumps
Increased blood glucose
Increased white blood cells
Sleep disturbances
Butterflies in the stomach
Difficulty concentrating
Difficulty swallowing

All of these responses help us to survive by either running away or fighting. Use these physical reactions to show your character is afraid.

B) Body Language

In your body language, signs of fear include:

Hunching shoulders
Shrinking away
Wrapping arms around oneself
Shaking hands
Rocking from side to side

C) Rational Or Irrational?

Fear is rational. It is a reasonable response to danger.
Phobias are irrational. They are persistent, irrational fears of a specific object, activity, or situation that leads to a compelling desire to avoid it. Read: Writing About Characters With Phobias

D) Ways To Create Conflict With Fear

There are three classic ways people respond to fear. They fight, flee, or freeze. Use these responses to create suspense in your book.

Fight – choose when your characters would reasonably stay to confront the danger.
Flight – choose when your character would reasonably choose to run away.
Freeze – choose when your character would realistically become paralysed with fear.

Use these three responses at different times to show different aspects of your character. Use them when they suit your plot.

[TOP TIP: Use our Character Creation Kit to help you create great characters for your stories.]

E) The Importance Of Fear In Plotting

You can create a fearful situation to move a plot forward.
You can literally change the setting by making characters move to avoid a threat.
You can increase or decrease the pace of a story by introducing a threat.
You can show another facet of the character in the way he or she reacts to fear.
You can use it to show growth. Characters can look at the way fear made them act and change their behaviour.

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

If you liked this article , you may enjoy

37 Ways To Write About Anger
Why You Need A Premise In Fiction
7 Ways To Create Suspense In Your Memoir
Body Language , Creating Characters , Description , Show Don't Tell , Writing Tips from Amanda Patterson

1 thought on “32 Ways To Write About Fear”

Thanks for a great article.

Comments are closed.

Skip to main content
Skip to primary sidebar

Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Describe Fear in a Story

By Isobel Coughlan

Are you writing a character in your novel who is extremely fearful? Scroll down to learn how to describe fear in a story.

Something that’s extreme in degree or strength.

“She was shaking with intense fear as she approached the edge of the diving board.”

“The man yelled for help as the tsunami wave towered over him. The fear he felt as the wave crashed was more intense than the impact of the sea itself.”

How it Adds Description

You can show extreme fear through the adjective “intense,” as this word makes it clear that the character is scared to a heightened degree. This is a good way to show your audience that the situation is petrifying for the character, and it could foreshadow potential psychological effects in the future due to the intensity of the event.

Something that lasts for a long time or feels like it won’t stop.

“An endless fear settled upon the classroom as the students listened to the howling wind outside.”

“The detective had been suffering from endless fear since he deciphered who the killer was. But he didn’t let his emotions show.”

“Endless” signifies that the character’s fear is either constant or feels like it will never end. This might leave them feeling hopeless as if they’ll be plagued by horror for the remainder of their lives. “Endless” fear could even result in depression or the character isolating themself from society in order to feel safer.

Something that only lasts for a short amount of time.

“The sudden loud noise sent a brief jolt of fear down the young boy’s spine.”

“As she entered the old mansion, she had a brief moment of fear. But she shook it off and continued walking.”

The word “brief” shows that the character’s fear is short-lived and not something they’re constantly worried about. This could imply that they’re not too scared of the events or person, or they could be very good at compartmentalizing their worries.

4. Exhausting

Something that causes weariness and fatigue .

“Anna has been living in fear of the campfire story for over a week now. It was exhausting for her nerves.”

“He was constantly on the lookout for opponents, and the exhausting fear was taking a toll on him.”

If a character is very scared for a long time, it will likely become “exhausting.” This is because constant psychological stress can take a toll on both their mental and physical health. Characters that are “exhausted” by fear will be less likely to think straight and may rely on others for assistance.

The feeling of being embarrassed, anxious , or afraid because you think something is wrong.

“The boy felt an uneasy fear each time he walked into the abandoned cellar.”

“She had been scared for the whole journey, but she felt even more uneasy when the sun went down.”

If you want to show a character feels more anxious or nervous rather than petrified, “uneasy” is the word for you. This word shows the character has realized that something isn’t right, and this might cause physical anxiety symptoms. They might also be keen to leave the situation or place to avoid the danger their intuition is picking up on.

6. Terrifying

Something that makes you extremely frightened .

“The sight of the demon was terrifying , and the boy froze with fear when he saw it.”

“As she crept through the underground tunnels, she tussled with a terrifying fear of the dark.”

“Terrifying” shows that a character’s fear is more intense than usual, to the extent that they might want to turn around and leave the situation. However, braver characters might swallow their fear and continue despite the “terrifying” feelings.

Something that needs to be dealt with as soon as possible.

“Seeing the zombies rise from the dead filled the gang with urgent fear. It was time to leave ASAP.”

“The fear in her eyes was urgent , and he knew they needed to fight or flee.”

Sometimes fear causes a fight or flight reflex, and “urgent” can show that your characters are experiencing this. “Urgent” shows that they need to react to the scary stimuli right now, and this is either through fighting or by escaping. “Urgent” can also increase the pressure in a fictional situation, making it a suspenseful read.

8. Insignificant

Something that’s unimportant or very small.

“After seeing the ancient monster, her usual fears seemed insignificant .”

“To the witch, human worries and fears were insignificant . She was above such trivial things.”

You can show that a character’s worries aren’t important via “insignificant.” This could signal that the character worries about a lot of small things, or it could show that their fears now pale in comparison to the new danger.

Something that’s hidden in the moment but may become more obvious in the future.

“The encounter with the ghost had stirred up a latent fear within the little girl.”

“Though the knight looked confident, behind his armor lay a latent fear of death.”

The adjective “latent” is used to describe things that exist but have not yet developed or become obvious to the characters. This can show characters have a dormant fear that’s only just starting or will take over in the future. Using “latent” is a great way to foreshadow future events or character emotions.

10. Irrational

Something that’s not based on logic .

“The class trip to the circus was continually interrupted by Billy’s irrational fear of clowns.”

“Ellie knew her feelings of terror were irrational . But the intense fear of buttons paralyzed every aspect of her life.”

Not all fears make sense, and you can show this via “irrational.” Characters with “irrational” fears might be misunderstood by others or dismissed as their worries seem illogical. This might make them feel even more stressed, as no one is taking their worries seriously.

how to describe worried eyes?

"Her eyes looked worried." That's telling, obviously, not showing. We're supposed to show, not tell. Our high school English teachers all drilled that into us. But some things are much harder to show clearly than others. Facial expressions are an example, where certain ones have become stock in trade. Raised eyebrows=surprise. A quirked or single raised eyebrow=skepticism or amusement. Tight lips=anger. Wide eyes can equal surpise or fear. Narrowed eyes indicate anger or skepticism. But I'm having trouble coming up with a way of describing what worried eyes actually look like using only a few words. We all know what worried eyes LOOK like, darn it (I can even tell when my dog is worried about something), but what is it about those eyes that screams worried?

__________________

Administrator

My Blog - My Twitter - My FB

NIP: Umbral Heretic (being polished for submission), Umbral Heretic II (Working title)

Stories: Test of Truth - Rule of She

Novels I'm following: Dead Mountain - The Ladysmiths - Sparkie - Dreams of Fire and Snow - No Night -

"All literature builds worlds, but some genres are more honest about it than others." --Farah Mendlesohn

Login or register to post comments
Writer's Block Clinic

I would debate that that's telling. You're describing how things look from the POV of your character, not telling the reader what is going on "John was concerned about Jane's distress". Sometimes you need to sum things up a bit because describing every facial expression in purely physical terms wouldn't make for good reading.

On hiatus. Just writing code until I have more time.

How about - She gave him a worried glance.

Current NiP: SPARKIE

If you don't know you have the power, it's the same as not having it.

I'm going with "She glanced at him, her eyes tight and worried."

You suggested wide-eyes = fear or surprise. Worry is at least related to fear, and I wonder if wide-eyes couldn't be used to describe a look of worry as well. I don't think it works in all contexts, perhaps limited to acute worry. In any case, I agree that it wouldn't be necessary to show everything, and I think Kukana's expression of 'shooting a worried glance' works just fine.

I wasn't thinking so much of wide-eyed fearful worry, more that way people's eyes sort of flatten on the top and get more reflective when they've got something that's been eating away at them for a while and something you said just reminded them of it. Obviously, trying to describe this expression in a few, elegant words is not easy.

I almost never just describe the eyes alone for worried. I often add smething like tightly wringing the hands or biting the lower lip or somehting else like that to better show worried. Eyes are often not enough for emotional cues since often the same eye expresiion can be interpereted as a bunch of other emotions. As you mentioned, eyes wide open already means more than one thing for you.

2015 reviews completed: 15 Last year's reviews: 145 Let us all strive to be better than we were before.

My December Challenge Entry - MAKE THEM SEE My revived Novel in Progress - DEATH MISTRESS My current Novel in Progress- SUFFER A WITCH

Works I'm following- Sparkie and the Temporal Paradox , The Library of Kithis , The Empire of Nandesh , The Ladysmiths , Dragon Fire , Umbral Heretic II , The Boy Who Jumped Shadows

My writing/cooking blog: Sancocho Pot

I usually start out with a bunch of cues when describing a character's internal emotional response or observation of another, but when I put them down and re-read the lengthy descriptions always seem to interrupt the flow of the the dialog or whatever else is happening in the scene. So I usually trim it to one or two things. You're right, eyes are not isolated in the face, and other things will provide extra hints. Reina (the character who is looking worried in this scene) is a fairly cool and reserved customer overall, so she likely wouldn't be doing a lot of hand wringing or ******* and moaning. I've actually borrowed a bit from my old dissertation advisor's mannerisms (and a bit from my mom's) when creating her, though I didn't realize that at first. We grad students used to tease my advisor about the vaguely "constipated" look he'd get on his face sometimes when he was trying to think of a nice way to level some piece of constructive criticism--I so want to have a scene where Tesk thinks her aunt looks constipated, but I don't think I could write it in a way where I wouldn't collapse into giggles). If this thing ever gets published in any form, I should send him a copy. They have places on the web where they have pictures of people experiencing different emotions (often related to psychology research). There are also sites for people who want to learn to sketch or draw people or cartoons. They are handy at narrowing down what cues certaing things, but it can still be hard to reduce it to a few words.

A lot of the descriptions we all reach for first--the eyes, the lips, the hands, etc.--carry the danger that they might come across as cliche. That isn't to say not to use them--I certainly do at times--but there's a temptation to over-use them. One great way to avoid that is to give your character something to do. Give her a prop, something to hold, and use that item to show what emotions she's going through. It could be something she happens to pick up at the beginning of the conversation or partway through, or some meaningful object that she had all along. So it might be "I don't know if that's the right thing to do." Peesh picked at the edge of the messenger bag as she spoke, shredding away flakes of the old leather. etc. etc. and then you simply have to mention her eyes to bring up the image of worried eyes without calling them that. Peesh avoided his gaze, starting as her eyes fell on the flakes of leather that covered her hands...

Spire City serial fiction , Season One: Infected, Season Two: Pursued, and Season Three: Unwoven--complete and available in a book-length bundles (print and electronic), along with the novelette "The Spire Singers" and the novella The Patterns of Cloth and Dreams . Also Spire City: Occupied in book formats and on Kindle Vella .

The Arcist Chronicles : novels of magic and revolution in a caste-based society. Published by Guardbridge Books. Book 1: The Silk Betrayal; Book 2: The Roots of Betrayal; Book 3: (forthcoming)

Cities of Wonder, Rails of Irreality : a chapbook collection of interconnected flash fiction and poetry.

There is an old Sanskrit word, lîla , which means play. Richer than our word, it means divine play, the play of creation, destruction, and re-creaction, the folding and unfolding of the cosmos. --Stephan Nachmanovitch, Free Play: Improvisation in Life and Art

I do that sometimes, though I don't want to go overboard with making them look like they're all fidgeting all the time. For me, who fidgets when and with what says something about their temperaments as well as their emotional state.There was a superb scene in Bujold's Curse of Chalion where this psychologically disturbed (and magically cursed) character was meticulously dismantling a rose during a conversation she was having with the pov character--and arranging the dismembered flower parts in an abstract pattern on the empty chair next to her. I make my character Tesk fidget with things a fair amount (though I've had to explain to some readers why she's flipping through a book randomly in the middle of a conversation), but her aunt doesn't ... except she'll take off her "reading oculars" when she's exasperated or frustrated with something (another mannerism "borrowed" from some academic types I've known--when the glasses came off in the middle of a conversation, you knew you'd pushed some button). But to be honest, I haven't read a work of fiction for a long time where there aren't some things that border on, or even are, cliches. We're taught to hate and fear cliches as writers, and there is some sense in that, but one reason that cliches are cliches is because they do sum things up pretty tidily (hmmm summing things up tidily--cliche?) sometimes ... and conjure up images that we can all agree upon. Except when we don't. I remember once using an image I was guiltily thinking might be a little cliche one time and a reader actually asking me what the cliche meant. He'd never run across it before and it didn't conjure up any images for him. So that can be an issue for cliches that have taken on a life of their own outside of their original context. Someone coming in from a different generational or cultural perspective may not know what you mean. And speaking of the word cliche--is it or isn't it supposed to have an accent over the e? MS word's spellchecker says it is but this site's spellchecker says it's fine spelled without the accent. Hmmm, now referring back to another thread--where we were talking about the difference between literary fiction and mainstream or popular fiction: Maybe literary fiction is what you get when a writer actually manages to write something without doing any of the things our freshmen English teachers told us not to do. That is, no cliches, no adverbs, no "to be" verbs, no passive voice etc. etc. Most popular writers, from what I've seen, violate most of these rules at least occasionally, and some violate them often.

Maybe literary fiction is what you get when a writer actually manages to write something without doing any of the things our freshmen English teachers told us not to do. That is, no cliches, no adverbs, no "to be" verbs, no passive voice etc. etc. Personally, I wouldn't want to read that. Writing that follows "rules" like that is ignoring half the tools in its box. None of those are meant to be"never do" rules - they're "watch how you handle these because they're often overused" guidelines. And speaking of the word cliche--is it or isn't it supposed to have an accent over the e? MS word's spellchecker says it is but this site's spellchecker says it's fine spelled without the accent. It's clich - that's the only spelling given in the COD. Incidentally, the physical meaning is "a metal casting of a stereotype of electrotype". A stereotype was a block of type kept made up because it needed to be used so often. For instance, if newspapers still used that sort of technology, they'd have stereotypes for phrases like President Obama, the Olympicsor financial catastrophe.

Visit my website & my blog , & link to me on Facebook .

Books available: At An Uncertain Hour , Eltava: A Sword for All Ages , The Dweller in the Crack , Steal Away

Anthologies I'm in: Light of the Last Day (the FWO anthology), The Trouble with Time Travel , It's Come to Our Attention , Unburied Treasures , Trespass , The Tale Trove , Ravensmoot , Festival of Fear , Rise and Fall

All critiques are very welcome, but I'm especially looking for feedback on Shadows in the City , The Tower of Zeka-Zomi , Tales the Winds Tell , The Empire of Nandesh , Children of Ice - revised , Dreams of Fire and Snow You're welcome to copy my stories if that makes the process easier, provided you don't use the copy for anything except critiquing here

But I'm not old; I've just lived a long time - the Traveller

"Personally, I wouldn't want to read that." Well, some people say that about literary fiction in general. I'd agree, though I do get tired of how often people scream things shrilly in some books, and I'm in the middle of reviewing something where the writer is using "to be" verbs in lots of places where they are not the best choice ... and it makes the story feel sort of distant and flat. The difference between "there was a dragon at the end of the lane." and "A dragon stood at the end of the lane." or better yet, "A dragon loomed at the end of the lane." or "A dragon sprawled at the end of the lane, gnoshing on a minivan the way a puppy might chew on a shoe."

That's what I meant by "watch how you handle these".

[cit]Peesh avoided his gaze,[/cit] I'm sorry Daus, but Peesh is liek one of those sounds I make (It's actually onomatopoeia where I say the word for the sound) when I'm annoyed at something: Peesh! Stupid tourists!

[cit]That's what I meant by "watch how you handle these".[/cit] What, dragons? Very carefully, I'd suggest.

Dragons and grammar rules. Much the same, really.

Terms Of Use
Create new account
Request new password

How to Describe Scared in a Creative Writing Class

April 23, 2023

One of the most challenging tasks in a creative writing class is trying to describe something in a way that will be understood by your readers. When I first started teaching creative writing, I would give my students the exact same task, and their struggle to describe fear would amaze me. I would ask them to write down all the different ways they could possibly explain what it means to be scared, and the list would usually include something like, “I felt a sudden burst of courage, and it surged through my body,” or “I felt like a little girl again, with my hands shaking and my voice quavering,” or “I felt like somebody stole my heart and I want it back.”

After a while, I realized that these descriptions didn’t really add up to scared. They sounded more like, “I felt powerful,” “I felt happy,” or “I felt myself growing up.” So I decided to come up with my own list of ways to describe scared, and the rest, as they say, is history.

One of the most commonly used words to describe scared is “aversive.” This can mean that you feel anxious or uncomfortable with something, but it can also apply to something that you are trying to avoid. Aversion is commonly used in psychology to describe the feeling that you get when you try to avoid something and inevitably end up doing it anyway. When we hear this word, we automatically think of snakes and spiders, which is perfectly understandable. No one wants to have an adverse reaction to these creatures, especially when they’re being described as scary.

If you’re writing a story about a deadly snake, the best way to avoid an aversive reaction is by using alliteration. For example, in the above excerpt from Toni Morrison’s novel The Bluest Eye, we see that the character Lark is scared of snakes. So much so that she feels an aversive reaction when she sees a snake:

…[S]he begins to shake uncontrollably, her hands fisted at her sides.
…[T]he skin on her arms is crawling, and she can feel the heat rising in her cheeks.
Lark takes a step back, and this time the snake slithers into the light.
The snake’s eyes are on her, and she can’t look away…

Another way to describe scared is “alarm.” When we get scared, our bodies go through a set of physical and mental changes. One of the most noticeable is that our heart races and our breathing becomes more rapid. Another is that we might feel flushed or even pale. These are all forms of alarm. When we are scared, we are really trying to get away from something or to protect ourselves from something.

This is why some people feel more scared when they are in a dark or isolated place. They know that something is following them, and even though they can’t see it, they believe that they can feel it. This kind of fear is more common in stories than we would like to admit. The best way to overcome it is by keeping your eye on the prize, which is often finding a safe place to retreat to. If you keep your eyes open for escape routes and make sure you’re always prepared to take advantage of them, you can stop yourself from feeling vulnerable when you are in a scary situation.

Apprehensive

Apprehensive is another word used to describe scared. This one comes from the Latin word, “appropinquére,” which meant “to investigate closely.” When we are apprehensive, we are afraid to find out more about what is happening. Sometimes this can result in us not wanting to find out at all, which is why it’s important to keep our wits about us and not let our imagination run away with us. Apprehensive is a feeling that just wants to be avoided at all costs. It’s an uncomfortable feeling that makes you question whether or not you are doing the right thing.

The last way of describing scared that I will mention is “baffled.” This is when you don’t know what is going on or why you’re afraid. If you don’t understand why you are scared, it can feel impossible to get rid of this feeling. To be baffled by something is to not know how to deal with it or why you are afraid. It can also mean that you don’t understand what is going on even after you are told. Sometimes the lack of explanation can keep you up at night, wondering what is scaring you. This is why, when you ask questions about what is going on or why you are feeling the way you do, the people around you have trouble answering you. They don’t know how to explain it either.

These writers used alliteration, vivid imagery, and dialogue to bring their audiences into the thick of it. They made the experience as real as possible by using language that is both interesting and unique. All of these elements, when combined, make for a well-written story that will keep you turning the pages long into the night.

Need help submitting your writing to literary journals or book publishers/literary agents? Click here! →

The Craft Of Fear Mongering: How (And Why) To Scare Your Readers (UPDATED 2024)

by Writer's Relief Staff | Craft: Novel Writing , Craft: Short Story Writing , Creative Writing Craft and Techniques , Literary Agents , Other Helpful Information , Publish A Novel , Publish Short Stories , Short Stories | 2 comments

Review Board is now open! Submit your Short Prose, Poetry, and Book today!

Deadline: thursday, april 18th.

The Craft Of Fear Mongering: How (And Why) To Scare Your Readers

Writers can suffer from recurring nightmares: you know, the one where the literary agent at the conference laughs at you in front of your friends, or the one where you’re naked at open mic night (or is that just us?). Fear gets down deep in the human consciousness, and if you as a writer aren’t exploiting fear to the utmost in your short stories or novel, then you’re missing a golden opportunity.

Even if you’re not writing in the horror or thriller genre , a healthy dose of fear is essential in your story. Fear creates rounded characters and lots of page-turning tension. Read on as we show you how to scare up a little extra fear in your story.

Writing Technique: Make Your Readers More Afraid

1. Ask yourself: What are your main character’s deepest fears? Dig deep and discover what your characters hate most, what they least want to see happen in their lives, what they can’t bear to lose. Then—go for the jugular and make them face that fear. How will they get by if the worst happens?

2. Key in to emotional fear. Some characters’ greatest fear will be losing a loved one, or discovering a spouse is cheating, or blurting a friend’s secret by accident. Find out what your character is afraid of, emotionally. Then—you knew this was coming—see what happens when that character is given a taste (or a heap) of what he/she fears most.

3. Ratchet up external fears. Along with your character’s emotional fears, consider introducing external elements that cause fear. This could range from serial killers to falling off a bike. Put your character in physical danger in order to keep your readers on the edges of their seats. Sometimes, a brush with death (or an injury) can lead a character to deep epiphanies.

4. Think like a child. You know what kids are afraid of, right? Monsters under the bed. Aliens. Dinosaurs… Fear of the outrageous or not-quite-believable is normal. And if you’re writing in a genre that can bend the rules of reality, be as creative as you like as you manipulate otherworldly beings for your own enjoyment! (Just be sure you check under your desk and in your closet when you’re done.)

5. Mess with our brains. Drop your character into a world that seems to be one thing but is actually something else. You’ll keep your character guessing (as well as your readers), and as you gradually let on that reality is not “real,” the fear level will begin to climb. Will your character get out of the fake world or be trapped there forever?

Fear isn’t just an emotion; it’s an effective tool that can propel your writing to the next level. Be sure that your characters’ sense of fear is balanced with the thing that causes the fear to begin with—audiences tend to hate when you overdo it or lay it on too thick. But most of all, have fun!

Are you dreading the eventual research you’ll need to do to get your work published? Don’t let fear hold you back! Contact Writer’s Relief to take advantage of our team of submission strategists who can find you the best markets to submit your writing to. Check out our Review Board today!

In addition to helping clients navigate and submit their work via traditional publishing paths, we also provide affordable and expert self-publishing options. We understand writers and their publishing goals.

I need to write a story introduction of the title ‘fear’. i’m trying to gather some ideas i’d appreciate some helppppp

You may find this article of interest: https://writersrelief.com/2019/08/28/writers-how-to-come-up-with-a-great-title-ask-writers-relief/

Submit a Comment Cancel reply

Your email address will not be published. Required fields are marked *

Submit Comment

See ALL the services we offer, from FREE to Full Service!

Click here for a Writer’s Relief Full Service Overview

Services Catalog

Free Publishing Leads and Tips!

Name * First Name
Email * Enter Email Confirm Email
Comments This field is for validation purposes and should be left unchanged.

Featured Articles

WHY? Because our insider know-how has helped writers get over 18,000 acceptances.

BEST (and proven) submission tips
Hot publishing leads
Calls to submit
Contest alerts
Notification of industry changes
And much more!

Phone This field is for validation purposes and should be left unchanged.

Pin It on Pinterest

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

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

Here is how to describe nervousness in writing:

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

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

23 Best Tips for Describing Nervousness in Writing

Digital image of a cartoon woman who is nervous - How to Describe Nervousness in Writing

Table of Contents

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

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

1) Demonstrate, Don’t Describe

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

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

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

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

2) Use Body Language

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

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

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

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

3) Incorporate Inner Monologue

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

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

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

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

4) Employ Facial Expressions

Facial expressions are highly expressive indicators of emotion.

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

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

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

5) Manipulate Pace and Sentence Structure

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

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

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

6) Use Metaphors and Similes

Metaphors and similes can also be instrumental in conveying nervousness.

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

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

7) Utilize Dialogue and Tone

Dialogue can also be a potent tool for conveying nervousness.

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

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

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

8) Leverage Environmental Interaction

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

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

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

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

9) Use Sensory Descriptions

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

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

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

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

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

10) Incorporate Thought-Action Sequences

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

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

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

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

11) Use Repetitive Actions or Tics

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

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

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

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

12) Play with Syntax and Grammar

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

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

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

13) Utilize Flashbacks or Imagery

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

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

It provides context and depth, making the emotion multidimensional.

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

14) Exaggerate for Effect (Hyperbole)

Sometimes a little exaggeration can drive the point home effectively.

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

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

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

15) Punctuate with Silence

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

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

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

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

16) Use Dialogue Tags and Modifiers

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

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

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

17) Add Color to Breathing and Voice

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

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

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

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

18) Describe the Passing of Time

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

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

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

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

19) Break It with Humor

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

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

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

20) Employ Foreshadowing

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

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

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

21) Bring it Full Circle (Callback)

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

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

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

22) Layered Emotions

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

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

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

23) Blend Multiple Techniques

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

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

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

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

30 Words to Describe Nervousness in Writing

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

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

Here are 30 words you can use to describe nervousness:

Apprehensive

30 Phrases to Describe Nervousness in Writing

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

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

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

3 Full Descriptions of Nervousness in Different Genres

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

You’ll read about nervous characters in:

Science Fiction

Mystery/thriller.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Thoughts: How to Describe Nervousness in Writing

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

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

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

Writing Nestling

How To Describe Nervousness In Writing (13 Best Ways)

Describing nervousness in writing is akin to wielding a masterful brush on the canvas of human emotions.

It is the art of capturing that visceral and universal sensation with words, allowing readers to not only witness but truly feel the trembling heartbeats, the sweaty palms, and the racing thoughts that define this complex emotional state.

Nervousness, in its many facets, is a profound element in storytelling, capable of breathing life into characters and narratives, forging an empathetic connection between readers and the written word.

This exploration delves into the techniques and nuances of articulating nervousness on the page, a journey through the intricacies of human emotion that will enable writers to create characters and scenes that resonate deeply with their audience.

Table of Contents

How To Describe Nervousness In Writing

Describing nervousness in writing can help convey the emotions and feelings of a character or situation. Here’s a step-by-step process on how to do it:

Establish the Context

Begin by setting the scene and providing context. Describe where the character is, what’s happening, and why they might be feeling nervous. This helps readers connect with the character’s emotions.

Use Sensory Details

Engage the reader’s senses by incorporating sensory details. Describe what the character sees, hears, smells, tastes, and touches. For example, trembling hands, a racing heartbeat, or a dry mouth can all be signs of nervousness.

Internal Monologue

Show the character’s internal thoughts and self-talk. What are they thinking and feeling on the inside? Are they doubting themselves, fearing failure, or second-guessing their decisions? These internal struggles can convey their nervousness effectively.

Physical Reactions

Describe the physical manifestations of nervousness. These might include sweaty palms, fidgeting, pacing, or even a feeling of nausea. These actions can demonstrate the character’s emotional state.

Use dialogue to reveal nervousness indirectly through character interactions. A character might stutter, stumble over words, or struggle to maintain eye contact when they’re nervous.

Metaphors and Similes

Compare the feeling of nervousness to something relatable. For example, “Her heart fluttered like a trapped bird,” or “He felt like a tightrope walker without a safety net.” Metaphors and similes can make the emotion more vivid and relatable.

Body Language

Pay attention to the character’s body language. Describe how they stand, sit, or move. Are they hunched over, avoiding eye contact, or constantly shifting their weight? These details can express their nervousness.

Setting Description

Connect the environment to the character’s feelings. If the room is dimly lit, chaotic, or unfamiliar, it can contribute to the character’s nervousness. Describe the setting in a way that enhances the mood.

Repetition and Patterns

Repeated actions or thoughts can illustrate nervousness. For instance, a character might repeatedly check their watch, tap their foot, or circle back to the same concerns or worries.

Character’s Reactions

Show how the character responds to the nervousness. Do they try to hide it, overcome it, or succumb to it? Their reactions can reveal the depth of their emotion.

Foreshadowing

Use nervousness to foreshadow events or build tension. The character’s anxiety can hint at something significant about to happen, creating suspense for the reader.

Vary the Intensity

Nervousness exists on a spectrum. It can range from mild unease to overwhelming anxiety. Adjust the intensity of the descriptions to match the character’s level of nervousness in a particular situation.

Editing and Revision

After writing, review your description of nervousness to ensure it effectively conveys the emotion without being overly repetitive or clichéd. Make sure it fits well within the overall narrative.

Remember that the key to describing nervousness effectively is to show, not just tell. Allow readers to experience the character’s emotions through vivid and relatable descriptions, and vary your techniques to keep the writing engaging and authentic.

Understanding Nervousness

Understanding nervousness is like peeling back the layers of a human psyche, revealing the raw and unfiltered essence of our vulnerabilities.

It’s that electric charge that dances on the tightrope of our emotions, a symphony of unease and anticipation playing in the background of our lives.

Nervousness is the involuntary confession of our deepest fears, our subconscious heartbeats echoing in the silent chambers of our souls.

To truly comprehend nervousness is to unlock the enigmatic door to human authenticity, where even the bravest warriors and the most composed hearts find themselves at the mercy of their own apprehensions.

Definition of nervousness

Nervousness is a complex and multifaceted emotional state that resides at the intersection of anticipation, apprehension, and unease.

It is the quiver of one’s heart, the fluttering of butterflies in the stomach, and the racing of thoughts in the mind, often in response to a perceived threat or a significant upcoming event.

Nervousness can manifest physically, with symptoms like sweaty palms, trembling, or an accelerated heartbeat, as well as mentally, through racing thoughts and self-doubt.

This emotion is an innate part of the human experience, revealing our vulnerability and serving as a powerful indicator of our emotional engagement with the world around us.

Whether it’s the nervous excitement before a first date or the anxious tension before a crucial presentation, nervousness is a universal feeling that transcends cultures and backgrounds, making it an essential element in understanding human nature.

Common triggers and causes of nervousness

Nervousness can be triggered by a multitude of life’s situations and challenges, each person’s experience uniquely influenced by their individual fears and sensitivities.

Common triggers of nervousness include public speaking, a daunting job interview, academic exams, medical appointments, and social interactions with unfamiliar individuals or groups.

Uncertainty about the outcome or fear of judgment often exacerbates these feelings. Life changes, such as moving to a new place, starting a new job, or embarking on a new relationship, can also evoke nervousness due to the unfamiliarity and unpredictability of the situation.

Essentially, nervousness arises when our comfort zones are breached, and we are confronted with the unknown, forcing us to grapple with our insecurities and the fear of potential negative outcomes.

The physiological and psychological aspects of nervousness

The experience of nervousness is a complex interplay of both physiological and psychological elements. Physiologically, the body’s fight-or-flight response kicks into action, triggered by the release of stress hormones like adrenaline and cortisol.

This results in a surge in heart rate, heightened alertness, and a rush of energy. Simultaneously, the body may manifest physical symptoms, such as trembling, sweating, and an unsettled stomach.

These reactions, while adaptive in times of true danger, can be overwhelming in situations that only pose social or psychological threats.

Psychologically, nervousness is marked by a pervasive sense of unease and heightened self-awareness. Negative thoughts and self-doubt often dominate one’s internal dialogue, and there can be a cognitive narrowing, wherein an individual’s focus fixates on perceived threats.

The mind becomes a battleground where anxiety clashes with rationality, and emotional responses like fear and apprehension take center stage.

Nervousness can vary in intensity, from a minor case of jitters to severe anxiety, and understanding the complex interplay between these physiological and psychological aspects is crucial in managing and coping with this common human experience.

The Role of Descriptive Writing

The role of descriptive writing is akin to being a magician with words, conjuring entire worlds and emotions within the minds of readers.

It’s a symphony of senses, where the subtlest brushstrokes of language paint vivid images, evoke scents long forgotten, and awaken the tactile sensations of a distant memory.

Descriptive writing is the compass that guides readers through uncharted territories, letting them breathe the air of far-off lands, hear the whispered secrets of characters, and taste the bittersweet tears of poignant moments.

It’s the alchemy of storytelling, where mere words transform into the gold of reader immersion, forging an unbreakable bond between writer and audience.

In the realm of literature, the role of descriptive writing is not merely to tell a tale but to be the conductor of a sensory orchestra, orchestrating an unforgettable experience for those who dare to venture between the lines.

Importance of sensory details in conveying nervousness

The importance of sensory details in conveying nervousness cannot be overstated. When we aim to immerse our readers in the emotional experience of a character, we rely on sensory descriptions to bridge the gap between the written word and the reader’s empathetic connection.

Sensory details offer a visceral pathway to understanding nervousness, allowing readers to not only witness but feel the trembling hands, taste the metallic tang of anxiety in the air, hear the erratic thud of a pounding heart, and see the quiver in a character’s voice.

These details lend authenticity to the narrative, making nervousness tangible, relatable, and deeply resonant. They enable readers to step into the shoes of the characters, forging a profound emotional bond with their inner turmoil.

In this way, sensory details become the keys that unlock the door to the reader’s empathy, enhancing the storytelling experience and leaving a lasting imprint on their hearts and minds.

Techniques for Describing Nervousness

Describing nervousness is like mastering a clandestine language of the heart , where the ink is made of sweat and the sentences are punctuated by erratic heartbeats.

It’s the art of capturing the delicate dance between apprehension and anticipation, painted with the brushstrokes of quivering voices and the echoes of inner turmoil.

Writers employ techniques as diverse as a palette of emotions: they use sensory imagery to sketch the intricate contours of fear, delve into internal monologues to reveal the unspoken anxieties, and wield metaphors like chisels to sculpt a vivid sculpture of unease.

Dialogue becomes the spoken sonnet of nervous souls, and settings metamorphose into the very stage upon which emotions are played out.

These techniques are the artisan’s tools in crafting a literary masterpiece that not only tells a story but intimately connects readers with the visceral symphony of human emotions.

Sensory imagery

Sensory imagery is the alchemy of words, the poetic art of invoking the senses in the minds of readers. It’s the literary passport that transports audiences to far-flung realms or the innermost chambers of a character’s soul.

Through the vivid depiction of sights, sounds, smells, tastes, and tactile sensations, sensory imagery breathes life into the narrative, allowing readers to step inside the story, to feel the caress of a breeze, to savor the aroma of a bustling kitchen, or to shiver at the eerie creak of an abandoned house.

Sensory imagery isn’t mere description; it’s an invitation, a compelling force that bridges the gap between the written word and the reader’s experiential reality.

It transforms the mundane into the magical, the ordinary into the extraordinary, and in doing so, it infuses storytelling with a vividness and depth that lingers long after the last page is turned.

Character Development

Character development is the literary equivalent of a chrysalis unfurling into a butterfly, a remarkable transformation that transcends the pages of a story.

It’s the art of breathing life into the ink and making the two-dimensional jump into three-dimensional vibrancy. Characters evolve, not just in their actions and decisions, but in the intricacies of their flaws, their virtues, and their hidden fears.

Like archaeologists unearthing a buried city, writers excavate the layers of a character’s psyche, revealing the secrets and motivations that drive them forward.

In the crucible of character development, readers find a mirror to their own complexities, a reminder of the shared humanity that binds us all, and, in that intimate connection, lies the true magic of storytelling—a reflection of the ever-changing mosaic of the human experience.

The impact of nervousness on character development

Nervousness, like a forge of emotional intensity, plays a pivotal role in character development. It’s a crucible where characters are tested, their strengths and vulnerabilities exposed.

As they grapple with nervousness, they confront their deepest fears, uncertainties, and insecurities, which are often the catalysts for significant personal growth.

This emotional turmoil can lead to profound self-discovery, forging resilience and newfound strengths. It can also unveil a character’s humanity, as readers witness them in their most vulnerable moments, fostering empathy and relatability.

Nervousness, when skillfully woven into a character’s journey, becomes the brushstroke that paints the intricate details of their inner world, making them more nuanced and captivating, and ultimately contributing to the depth and authenticity of their development throughout the narrative.

How character traits can be revealed through their response to nervousness

The response to nervousness serves as a revealing window into the intricate fabric of a character’s traits and innermost qualities.

When faced with anxiety, characters often exhibit a spectrum of responses, and within these reactions lie the seeds of their unique personalities.

A confident individual may employ humor as a shield, while a timid character might withdraw into introspection.

Their coping mechanisms, or lack thereof, reflect their emotional resilience and self-awareness. Whether they face their fears head-on or succumb to doubt, these responses offer insights into their courage, self-doubt, resilience, and adaptability.

It’s in the crucible of nervous moments that readers glimpse the authentic essence of characters, witnessing their vulnerabilities, strengths, and their deeply ingrained quirks that make them compelling and relatable figures within the narrative.

Plot Advancement

Plot advancement is the heartbeat of storytelling, the relentless pulse that propels a narrative forward, demanding the reader’s attention at every turn.

Like a masterful puppeteer, it orchestrates the twists and turns, pulling the strings of conflict and resolution. It’s the unfolding of secrets, the collision of intentions, and the unearthing of hidden motives, painting a dynamic canvas of intrigue and anticipation.

Each step in the plot’s journey is a revelation, inviting readers to embark on a rollercoaster of emotions, from heart-pounding suspense to breathtaking epiphanies.

Plot advancement is the compass, the guiding force that steers the reader through a labyrinth of events, promising to unveil the ultimate destination, and it’s this promise that keeps readers on the edge of their seats, eager to discover the secrets and surprises that lie just beyond the next page.

Balancing Show and Tell

Balancing show and tell in writing is like performing a high-wire act on the literary stage, a tightrope walk between the art of subtlety and the necessity of clarity.

Showing unveils the emotions and intricacies through sensory details and character actions, while telling offers concise exposition and direct insight.

Like a skilled chef combining flavors in a delicate dish, writers must blend these techniques in just the right measure to engage readers without overwhelming them.

It’s the dance of prose and poetry, where showing draws readers into the world, immersing them in its textures and colors, while telling provides the roadmap, guiding them through complex narratives.

The alchemy of this balance is the key to powerful storytelling, where readers not only see the story but understand it on a deeper level, forging a connection that lingers long after the final page is turned.

Reader Engagement

Reader engagement is the delicate art of inviting the soul of the reader to waltz with the spirit of the writer on the grand stage of storytelling.

It’s a whispered invitation to step into a parallel universe, to walk in the shoes of characters, and to taste the bittersweet tang of their victories and defeats.

Like a captivating symphony, it harmonizes emotions, immersing readers in a vivid tapestry of words.

Reader engagement is a magical contract between the writer and the audience, where the alchemy of prose and imagination weaves a bond that transcends the limitations of time and space.

It’s an unspoken pact, promising that even when the final chapter is turned, the echo of the narrative will resonate in the reader’s heart, inviting them to return again and again to relive the moments and emotions captured in the pages of a truly unforgettable story.

The importance of relatability in creating memorable characters

The importance of relatability in creating memorable characters cannot be overstated. When readers can see themselves in the struggles and triumphs of a character, a profound connection is formed.

Relatable characters become emotional mirrors, reflecting our own experiences, fears, and hopes.

They offer a tangible, humanizing element to the narrative, making it not just a story but a shared journey. Through the lens of relatable characters, readers can explore different perspectives and confront universal themes, enriching their own understanding of the world.

The emotional resonance created by relatability lingers long after the book is closed, leaving an indelible mark on the reader’s heart and mind.

Memorable characters are often those with whom we’ve forged a deep, empathetic bond, and this connection is the true essence of great storytelling.

Frequently Asked Questions (FAQs) about how to describe nervousness in writing:

Can describing nervousness be compared to painting with words.

Absolutely! Describing nervousness in writing is like an artist’s brushstroke on the canvas of emotions. You use words to craft vivid, sensory images that evoke the trembling, the racing heart, and the sweaty palms, painting a compelling emotional landscape for your readers.

How can I make nervousness a character’s ally rather than an obstacle in my story?

Nervousness can be a powerful character motivator. By showing how your character harnesses that nervous energy to drive them forward or transform their circumstances, you can turn it into a dynamic force that shapes the plot.

Are metaphors and similes the secret to portraying nervousness effectively?

While metaphors and similes can be potent tools, it’s essential to use them judiciously. Comparing nervousness to other sensations can add depth, but the real magic lies in the details—sensory, emotional, and cognitive—that paint a comprehensive picture of the character’s state.

How can I ensure my descriptions of nervousness remain fresh and engaging for readers?

Stay away from clichés and consider approaching nervousness from unique angles. Try to incorporate character-specific triggers or manifestations of nervousness that differentiate your writing from the usual tropes.

What’s the right balance between showing and telling when describing nervousness?

Finding the right balance is an art. Use ‘showing’ for the most intense moments to make the reader feel what the character feels. ‘Telling’ can be effective for providing context or conveying subtler emotions. Experiment and revise to strike that balance effectively.

Can settings and atmospheres contribute to conveying nervousness?

Absolutely. Your setting can mirror or intensify the character’s emotional state. By describing the environment—whether it’s a dimly lit room, a crowded street, or a desolate landscape—you can enhance the atmosphere and help readers immerse themselves in the character’s nervous experience.

How do I ensure that readers connect with a character’s nervousness on a personal level?

Make the emotions authentic and relatable. Infuse your character’s nervousness with universal themes—like fear of failure, social anxiety, or uncertainty—so that readers can see a reflection of their own experiences, fears, and hopes in your character’s struggles.

In the world of storytelling, the ability to effectively describe nervousness is a gift that enhances the depth and authenticity of characters and narratives.

The techniques explored, from sensory imagery to internal monologue and metaphorical nuances, serve as the palette with which writers paint intricate emotional portraits.

The impact of nervousness on character development and plot advancement is profound, offering a rich tapestry of human experiences for readers to explore.

By skillfully balancing the interplay of showing and telling, writers create a compelling, immersive experience that resonates with the heart of the reader.

Ultimately, the ability to convey nervousness in writing is an art that bridges the divide between the written word and human empathy, forging connections that transcend the confines of the page and leave a lasting imprint on the literary landscape.

It is a testament to the power of storytelling to illuminate the complex landscape of human emotions and bring readers closer to the shared tapestry of the human experience.

How To Describe A Worried Face In Writing (10…
How To Describe Running In Writing (10 Best Ways)
How To Describe Fear In Writing (13 Steps You Need To Know)

How To Write A Socially Awkward Character (10 Best Tips)

How To Describe A Panic Attack In Writing (10…
How To Describe Crying In writing (12 Best Steps & Examples)

How to Write a Novel With Multiple Protagonists (11 Best Tips)

Embarking on the journey of crafting a novel with multiple protagonists is a literary adventure that opens doors to a multifaceted narrative universe. In this realm, characters don’t merely inhabit the story; they coalesce into a dynamic ensemble, each possessing a unique voice, perspective, and purpose. Writing a novel with multiple protagonists demands a delicate…

How To Describe Laughing In Writing (11 Steps You Need To Know)

In the realm of storytelling, laughter is a universal language that transcends cultural boundaries and connects readers to the rich tapestry of human emotion. Describing laughter in writing is an art form, a delicate brushstroke on the canvas of narrative that can evoke everything from sheer joy to profound sorrow. It is the key to…

How To Describe A Smart Person (12 Best Ways You Need To Know)

Describing a smart person is a complex and nuanced endeavor that transcends conventional assessments of intelligence. It goes beyond mere numbers and academic accolades, delving into the intricacies of cognition, character, and the capacity to navigate the multifaceted landscape of human existence. In this exploration, we will embark on a journey to decipher the essence…

How To Describe Autumn Season In Writing (11 Steps, Quotes & Words)

Welcome to the art of capturing the vivid essence of autumn with the stroke of your pen and the magic of your words. The autumn season, with its rich tapestry of colors, crisp air, and the subtle symphony of falling leaves, has long been an inspiration for writers seeking to evoke the very essence of…

How To Describe A Drug Addict In Writing (10 Best Tips)

Describing a drug addict in writing requires a delicate yet unflinching exploration of the complexities that characterize the human experience entangled with substance abuse. It goes beyond clichés and stereotypes, demanding a nuanced understanding of the physical, psychological, and emotional dimensions of addiction. In this journey, writers become not just storytellers but empathetic observers, tasked…

Log in or Sign up

You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser .

MilesTro Senior Member

Writing fear and describing a scary setting.

Discussion in ' Setting Development ' started by MilesTro , Aug 26, 2012 .

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I am new at writing a story that suppose to sound scary and spice it up using sensual words. I also want to learn how you can describe a setting that sounds creepy. Do you have any examples that can help me?

Cogito Former Mod, Retired Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Description and word choice can certainly help, but character reactions do far more to set the tone. For examples, I'll leave that more to those who are far more into the horror genre.

Michelle Stone Member

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I would think that your plot and characters should be creepy. The setting is just the spice. I think too many aspiring writers focus too much on the setting and forget that they have a story to tell.

captain kate Senior Member

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I'd say read early King, Koontz and Clive Barker to see how the aspects are put together. Stories like Christine and It are very good at it. It really messed with my mind when I read that book. Watch how King makes it work, and Koontz's work..

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); captain kate said: ↑ I'd say read early King, Koontz and Clive Barker to see how the aspects are put together. Stories like Christine and It are very good at it. It really messed with my mind when I read that book. Watch how King makes it work, and Koontz's work.. Click to expand...

DanesDarkLand New Member

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Think Thriller style movies. How would you describe someone walking through a house that is supposed to be haunted, but it hasn't proved that way yet? Your characters hear the creek of the floor boards, but see nothing ahead of them, or behind. There are light scratches at a window, but proves to be a branch. The lights go out, forcing people to use flash lights. It is about atmosphere. And its about surprises. A character who isn't who they appear to be, but the main supposed hero actually is the serial killer. You need to imagine the scene, just like any other genre, fantasy, mystery, action, erotic, or horror, they all need for the writer to imagine what the characters are feeling, and what they are seeing. What they say, and how you describe it is up to you. Dean Koontz is an excellent author to read and find examples of how to write scenes. The series under Brian Lumley, a series written about a Necroscope, one who can talk to the dead, he's a fairly decent author and has some pretty decent ways to describe things.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); DanesDarkLand said: ↑ Think Thriller style movies. How would you describe someone walking through a house that is supposed to be haunted, but it hasn't proved that way yet? Your characters hear the creek of the floor boards, but see nothing ahead of them, or behind. There are light scratches at a window, but proves to be a branch. The lights go out, forcing people to use flash lights. It is about atmosphere. And its about surprises. A character who isn't who they appear to be, but the main supposed hero actually is the serial killer. You need to imagine the scene, just like any other genre, fantasy, mystery, action, erotic, or horror, they all need for the writer to imagine what the characters are feeling, and what they are seeing. What they say, and how you describe it is up to you. Dean Koontz is an excellent author to read and find examples of how to write scenes. The series under Brian Lumley, a series written about a Necroscope, one who can talk to the dead, he's a fairly decent author and has some pretty decent ways to describe things. Click to expand...

Mckk Member Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); So why are you trying to write a scary story if such a genre of writing doesn't connect with you? My suggestion is, abandon ship! Or pursue a graphic novel instead. But as for writing - it's about atmosphere and caring about the character enough that you care about what happens to him/her. It's not a matter of one scene but a matter of building a psychological concept or fear in the reader's mind through a series of hints and events in various scenes, all building up to your scary scene. When someone's scared, everything they see changes - a swinging door could be the trick of the wind or a hint that someone who's not meant to be there just entered, only now the stranger is hidden and your protection (the door) is gone. Think about how fear transforms someone's mind, and thus the way they would describe things, and then describe it.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Thank you, Mckk. You beat me to the punch He's right, if you're trying to write a scary story without a genre that connects, you're wasting you time. Furthermore, things jumping out to jump out, and no description or narration/dialogue to explain WHY it's scary means you have disjointed actions that don't make sense. As for fear, I use my experience living through the VA earthquake last year (epicenter happened right close to my house...won't say how much...just that it was close) for fear. It woke me up from a sound sleep, and scared the beejeezes out of me. Then the tornado that came through my yard earlier this year. Each time my rational mid transformed into something frightened. Horror stories, however, are psychological more then "gore," Christine, with the descriptions King uses to describe a scene there are creepy, and play with your mind. His books show the psychological, while Koontz's show the thriller aspect. Combined together, they make on hell of a story...but only if you're interested.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I am interested; I'm just trying to figure out how I can add what scares me into my own scary story ideas. Things that suddenly jumps out really scares me. What about fear in dark fantasy stories that have action scenes?

Juganhut Banned

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Usually when someone is scared, time seems to slow down, and their sense are hightened. The seem and hear and see more, but there actual reasoning skills drop, making everything seem horrifiying. Thats the reason people do stupid things in scary movies that you yell at. The suspense building up to the actual fear is what you play on. As they slowly begin to realize what is going on, their hearts race and they begin breath in the cold, wet, stail air. Each breath makes their stomach churn, and head spin. Eventually they will begin to panic, and everything else but survival enters their mind. well, thats what I did. Once they are panic it was hard to explain, but the build up is what I sell.

peachalulu Member Reviewer Contributor

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); You're never going to have the same surprise element that you do in movie's or video games. The fact is you have to build on the moment to have the surprise. That means drawing on the spooky setting and how it effects the character. Remember with a video game and movie - you see it. The writer however is everything - actor director, set designer - he has to paint the scene for the reader with words to trigger an emotion of fear in the reader- he has no shocking images, or spooky music to help him along. Horror is like any other genre out there. With it's own twists - in some odd way it's rather like Romance - because when the big love scene comes up - the writer can't skip over it - it's got to be drawn out in detail - same goes for Horror - when the spooky scene comes up there is a slow, creeping pace before the monster, psycho, evil spirit pops out. Try Richard Laymon he's not exactly quick paced, but he's sparse and interesting. But if you don't like to read horror. Maybe you should switch to more thriller styles - James Patterson , or stuff like the Bourne Identity which are quicker paced.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); peachalulu said: ↑ You're never going to have the same surprise element that you do in movie's or video games. The fact is you have to build on the moment to have the surprise. That means drawing on the spooky setting and how it effects the character. Remember with a video game and movie - you see it. The writer however is everything - actor director, set designer - he has to paint the scene for the reader with words to trigger an emotion of fear in the reader- he has no shocking images, or spooky music to help him along. Horror is like any other genre out there. With it's own twists - in some odd way it's rather like Romance - because when the big love scene comes up - the writer can't skip over it - it's got to be drawn out in detail - same goes for Horror - when the spooky scene comes up there is a slow, creeping pace before the monster, psycho, evil spirit pops out. Try Richard Laymon he's not exactly quick paced, but he's sparse and interesting. But if you don't like to read horror. Maybe you should switch to more thriller styles - James Patterson , or stuff like the Bourne Identity which are quicker paced. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I'd forgotten about the Ludlum books! They're very good at keeping a quick pace, not boring you with too much extraneous stuff, and rocketing you through them. Bob was a great writer for that genre, my only regret it never getting to meet him or Bradbury.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I met Ray Bradbury like three years ago. I shook his hand and he autographed two of his published books, which I brought from Boarders.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Another one who's great at thrillers and keeps you wanting to read is Lee Child. Every time I get one of his books, I can't set it down until it's done...even if it's 4am...

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I am more into supernatural or science fiction horror genres. Thrillers are okay, but I believe strange deadly unexplainable events are the most strangest.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); like the Bermuda Triangle and Philadelphia Experiment

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); Perhaps, stuff like the Twilight Zone and X-Files. I also don't like slasher flicks.I am not into psychopathic serial killers unless they are supernatural killers, like Freddy Krueger.

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); X-files and Twiight Zone, The Philadelphia Experiment/Project Rainbow, and Bermuda Triangle all make one big quartet of strange happenings. Supposedly Project Rainbow TRANSPORTED a destroyer from Philly to DC and back and then into hyperspace, only to open a hole over Montuak on Long Island...weird stories there. Enough to keep one busy for hours

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); I'll check out one of Richard's books, but how can I describe the fear as a surprise without having it just jump out? Click to expand...

illemSita Banned

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); where can i purchase pen and shoes? Bethlehem-born Sha Clearman enjoys Montblanc pen soccer, jigsaw puzzles. She is interested in socializing with her loved ones. Stamford-born Sha hobbies and interests include Montblanc pen rc vehicles, creating model vehicles. And finally she is obtains her stimulus through discovering and visiting new towns, cities and foreign territories like Estonia! Bookkeeper Sha hobbies includes Montblanc pen reading books, kite boarding. And finally, she's captivated by discovering new countries around the world specially to Pakistan. Mont Blanc Meister , Nutritionist Sha spare-time activities includes Montblanc pen electronic devices and paintball. Last of all, she is motivated by vacationing specifically to Tokoroa,New Zealand. Stockton-born Sha spare-time activities includes Montblanc pen radio controlled planes, magic. Finally, she's is getting a lot of her inspiration through exploring and going to different locations and places around the world including Maardu. 20 year-old Proofreader Sha is addicted to Montblanc pen ancestry, football. And finally, she gets catches her stimulus from discovering different countries such as Antarctica. Mont Blanc Meisterstuck Pen , Stockton-born Sha Clearman interests include Montblanc pen radio controlled aircrafts, matchstick modeling. Lastly she gets gets her stimulus from exploring and travelling to different places and nations around the world for example, Maardu,Estonia. Level Developer Sha Clearman really loves Montblanc pen soccer, bicycling. Also, she enjoys following an Colorado Avalanche icehockey game in real life. Medical doctor Sha is excited about Montblanc pen pc games and beachcombing. Finally, she also likes going on a holiday and checking out new places and in particular to Comilla,Bangladesh. Top Fountain Pen .

googletag.cmd.push(function() { googletag.display('funpub_20f21a81803ae9d5c454f6b20acbf522'); }); What also scares me is knowing that there is something in a room with the character, and the character doesn't know about it. I never know when the thing will suddenly attack the character. The movie I saw that has a sight like that was Paranormal Activity. In that movie, you never know what will happen next.

Share This Page

Log in with Facebook
Log in with Twitter
Log in with Google
No, create an account now.
Yes, my password is:
Forgot your password?

Creative Writing Forums - Writing Help, Writing Workshops, & Writing Community

Search titles only

Separate names with a comma.

Search this thread only
Display results as threads

Useful Searches

Recent Posts
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. By continuing to use this site, you are consenting to our use of cookies. Accept Learn More... Dismiss Notice

Describe Crying in Writing—Without the Clichés

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

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

How to Avoid Writing Clichés when Describing Crying

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

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

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

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

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

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

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

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

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

Writing Different Types of Crying

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

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

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

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

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

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

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

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

Happy Crying

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

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

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

Angry Crying

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

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

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

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

Embarrassed Crying

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

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

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

Scared Crying

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

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

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

Pained Crying

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

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

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

Disappointed Crying

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

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

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

Frustrated Crying

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

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

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

Panicked Crying

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

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

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

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

Hopeless Crying

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

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

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

Writing Dialogue when a Character is Crying

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

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

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

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

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

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

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

How to Describe a Character Trying Not to Cry

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

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

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

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

How to Describe Fake Crying

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

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

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

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

Write Crying Realistically

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

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

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

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

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

Best of luck with your stories, writers!

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.

When you think about it, the horror genre makes no sense at all. We sit and stare at pieces of paper with words on them, imagining monsters that we know are entirely made up... and that somehow makes us so scared that we have to sleep with the lights on? Seriously? Writing horror that's genuinely scary is no mean feat. If you're an aspiring horror writer (or even just an enthusiastic campfire storyteller), you might want a few pointers on how to take your stories from slightly scary to spine-chilling nightmare fuel. Here's some writing advice from horror authors, so you, too, can terrorize everyone you meet.

Of course, most general tips for writing apply to writing horror as well. Read widely. Try to write everyday. Write stories that matter to you, and ground them in real emotions. But horror comes with its own specific challenges as well. I mean, how do you know what makes something scary? How to you capture that scary thing and put it into your own writing? Are clowns truly played out as a horror trope?

Every author's process is different, and everyone has a different set of deep, dark fears. But these tips on writing horror will help you find your own method of adding fear to the world:

There are three types of terror

When you get down to it, there are only three things that can truly freak someone out. At least, according to Stephen King :

“The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it's when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it's when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It's when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there's nothing there...”

Use your own fear

Shirley Jackson believed that one is always writing, filing away little moments and snippets of dialogue for later use, "a little like the frugal housewife who carefully tucks away all the odds and ends of string beans and cold bacon and serves them up magnificently in a fancy casserole dish." She paid special attention to the things that scared her:

“I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from there.”

Get inside your narrator’s head

R.L. Stine frightened an entire generation of children with a very simple rule: get inside your narrator's head. If we're seeing through the eyes of a character in a scary situation, we start to feel like we are in a scary situation (also, ventriloquist dummies are universally evil). He told AdWeek :

“There’s no formula. I think you have to create a very close point of view. You have to be in the eyes of the narrator. Everything that happens, all the smells, all the sounds; then your reader starts to identify with that character and that’s what makes something really scary.”

Don’t worry about being “legitimate”

There will always be literary snobs out there to tell you that horror, like all genre fiction, is not as important or "legit" as real fiction about middle age men who cheat on their wives. Tananarive Due suggests that you stop worrying about trying to be a "legit" writer, and just write what feels right to you, even if it involves ghosts:

"...I'd had it drummed into my head in creative writing workshop courses that one could not expect to be a respected writer when writing commercial or genre books. Legitimacy has always been very important to me... Finally, though, I said the heck with all of it. I wasn't going to try to be Toni Morrison or Joyce Carol Oates, I was just going to be me, and I was going to write about the people I know..."

Take your nonsense seriously

On a similar note, you have to take your ghosties and goblins seriously, because even the goofiest of evil clowns still represents a very human fear of the unknown. Ray Bradbury thought that writing should be enjoyable, and that writers should be selective about which criticisms to listen to:

“I have never listened to anyone who criticized my taste in space travel, sideshows or gorillas. When this occurs, I pack up my dinosaurs and leave the room.”

Go where the pain is

Anne Rice has some truly chilling advice for horror writers: go where the pain is. Write about the one thing that you can't get over, because that's where true horror lies:

“Writers write about what obsesses them. You draw those cards. I lost my mother when I was 14. My daughter died at the age of 6. I lost my faith as a Catholic. When I'm writing, the darkness is always there. I go where the pain is.”

The scariest thing is feeling out of control

For Clive Barker, horror comes from the realization that we are not in control. Excellent horror writers don't just go for gore and shock value, they remind their readers that everyday life is always right on the edge of dissolving into chaos:

“Horror fiction has traditionally dealt in taboo. It speaks of death, madness and transgression of moral and physical boundaries. It raises the dead to life and slaughters infants in their cribs; it makes monsters of household pets and begs our affection for psychos. It shows us that the control we believe we have is purely illusory, and that every moment we teeter on chaos and oblivion.”

Just start writing and fix it later

Horror writer and poet Linda Addison suggests that you silence your inner editor for that first draft, and just let all the horrific weirdness of your subconscious flow out onto the page/screen:

"Know that even when you’re not putting words on paper/computer you’re writing. Living is writing. Everything we do feeds creativity, even in the most un-obvious ways. Don’t edit while writing first draft, just get it out. This is a rule I often struggle with because I know the quality I want, but I also know it’s important to write it from beginning to end and the editor mind doesn’t help that for me."

Tell your own story

Write in your own universe, not someone else's. Make up your own monsters. That's what Neil Gaiman does. From a podcast interview with Nerdist :

"Tell your story. Don’t try and tell the stories that other people can tell. Because [as a] starting writer, you always start out with other people’s voices — you’ve been reading other people for years… But, as quickly as you can, start telling the stories that only you can tell — because there will always be better writers than you, there will always be smarter writers than you … but you are the only you."

Keep it real (kind of)

Helen Oyeyemi's writing blends realism with magic and horror—but to her, that doesn't make her writing unrealistic. As long as the emotions are genuine, you can let go of concerns about sticking strictly to reality:

"I tend to prioritize emotional realism above the known laws of time and space, and when you do that, it's inevitable that strange things happen. Which can be quite enjoyable, I think."

IMAGES

How to Describe Fear in Writing (21 Best Tips + Examples)
How to Describe Fear in Writing
What Words to Use to Describe Scare
Creative Writing About Fear
Words to Describe Scared, Adjectives for Scared
How to Describe Being Scared in a Story

VIDEO

Learn ABCD With Exciting Adventure, Writing ABCD For Kids, English Varnamala, Learning video
How to craft a horror film from screenwriters that scare
what is the writing from?I'm scared of it
The militia are BEYOND scared [Creative Stealth]
how to not be a scared creative
easy scary drawing

COMMENTS

Master List of Ways to Describe Fear
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.
Fearful Whispers: Crafting Descriptions of Fear in Creative Writing
Fear is a powerful emotion that often drives the actions of characters in a story. When it comes to portraying fear convincingly, various elements such as facial expressions, body language, and dialogue play crucial roles in creating a gripping narrative. Facial expressions can effectively convey fear to the audience.
Unveiling Emotions: Describe Fear in Creative Writing
Fear is a powerful emotion that can consume us in moments of danger or uncertainty. In creative writing, capturing and describing fear can create a thrilling experience for readers. By using vivid sensory details, evocative language, and tapping into genuine human experiences, writers can truly unlock the essence of fear and bring their stories to life. Join us as we delve into the art of ...
How to Describe Fear in Writing (21 Best Tips + Examples)
Tip 1: Get to Know the Type of Fear. Understanding the type of fear your character is experiencing can make a huge difference in your writing. Fear comes in various forms such as phobias, existential fear, traumatic fear, or even something as simple as a sudden surprise. Knowing the difference will help you convey the emotion accurately and ...
How To Describe Fear In Writing (13 Steps You Need To Know)
Before you can describe fear, you need to have a clear understanding of what fear is. Fear is an emotional response to a perceived threat or danger. It can manifest physically, mentally, and emotionally. It often involves heightened senses, increased heart rate, and a sense of impending doom.
How to Describe Fear in Writing
Fear is a very powerful emotion that's often triggered by a perceived threat. It can make a person feel anxious, scared, or even panicky. Fear is a survival mechanism that's hardwired into our brains. It's designed to help us avoid danger and protect us from harm. But sometimes fear can be irrational and unfounded.
How To Describe A Worried Face In Writing (10 significant steps)
Embarking on the journey to describe a smile in writing is like capturing a sunbeam in a bottle—a tantalizing endeavor that beckons the writer to dance between the tangible and the ethereal. In the realm of words, a smile becomes more than a mere curvature of lips; it transforms into an intimate gateway to the…
Heart-Pounding Moments: Describing Being Scared in Creative Writing
Without the inclusion of heart-pounding moments, creative writing runs the risk of becoming dull and uninteresting. These moments act as accelerators, propelling the story forward and adding a dynamic element to the narrative. They inject excitement, keeping the reader eagerly turning the pages, hungry to discover what happens next.
Describing Fear
Psalm 34:4. Fear is a re-occurring emotion in fiction especially in thrillers. Use the following examples to accurately describe the level of fear your character is experiencing. A stab of fear. A prick of fear. These thoughts are like needles jabbing at my skin. Fear/ sweat prickles over my skin.
32 Ways To Write About Fear
There are three classic ways people respond to fear. They fight, flee, or freeze. Use these responses to create suspense in your book. Fight - choose when your characters would reasonably stay to confront the danger. Flight - choose when your character would reasonably choose to run away. Freeze - choose when your character would ...
How to Describe Fear in a Story
You can show extreme fear through the adjective "intense," as this word makes it clear that the character is scared to a heightened degree. This is a good way to show your audience that the situation is petrifying for the character, and it could foreshadow potential psychological effects in the future due to the intensity of the event.
how to describe worried eyes?
Raised eyebrows=surprise. A quirked or single raised eyebrow=skepticism or amusement. Tight lips=anger. Wide eyes can equal surpise or fear. Narrowed eyes indicate anger or skepticism. But I'm having trouble coming up with a way of describing what worried eyes actually look like using only a few words.
How to Describe Scared in a Creative Writing Class
They sounded more like, "I felt powerful," "I felt happy," or "I felt myself growing up." So I decided to come up with my own list of ways to describe scared, and the rest, as they say, is history. Aversion. One of the most commonly used words to describe scared is "aversive."
Writing Fear: How To Scare Your Readers
5. Mess with our brains. Drop your character into a world that seems to be one thing but is actually something else. You'll keep your character guessing (as well as your readers), and as you gradually let on that reality is not "real," the fear level will begin to climb.
How to Describe Nervousness in Writing (23 Tips + Examples)
Describe nervousness in writing by using vivid language and sensory details. Show physical symptoms like shaking hands or quick breathing. Use dialogue tags such as "stammered," internal dialogue, and pacing to build tension. Use words like "jittery" or "heart pounding" to deepen emotional impact. In this guide, you'll learn ...
How To Describe Nervousness In Writing (13 Best Ways)
Use Sensory Details. Engage the reader's senses by incorporating sensory details. Describe what the character sees, hears, smells, tastes, and touches. For example, trembling hands, a racing heartbeat, or a dry mouth can all be signs of nervousness.
Writing Fear and describing a scary setting
When someone's scared, everything they see changes - a swinging door could be the trick of the wind or a hint that someone who's not meant to be there just entered, only now the stranger is hidden and your protection (the door) is gone. Think about how fear transforms someone's mind, and thus the way they would describe things, and then ...
Describe Crying in Writing—Without the Clichés
A cliché is a phrase, idea, or story element that has been overused to the point of being annoying. Some examples are: When a character screams "noooo!" up at the sky. When a character cries in the rain. The phrase "crying a river of tears.". When a character's heart "hammers" or "pounds.". The phrase "a blood-curdling ...
creative writing
First; the simple: "He/I was nervous".. - Not a lot to misinterpret, but not a lot for the reader to feel either. Second; the less simple: "He/I did this, said this, felt this" - the "this's" in the example above would then be replaced with examples of behaviour that people are familiar with connecting to nervousness: Stuttering / repeating ...
Describing Sadness in Creative Writing: 33 Ways to ...
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.
10 Chilling Writing Tips From Horror Authors
Go where the pain is. Giphy. Anne Rice has some truly chilling advice for horror writers: go where the pain is. Write about the one thing that you can't get over, because that's where true horror ...
25 Horror Writing Prompts: How to Write Scary Stories
1. A scary doll comes to life. 2. A scene from a nightmare comes true the next day. 3. Days go by, and your parents don't come home. 4. You feel yourself slowly becoming a monster. 5.

tell your stories, love your life

Related Posts

Share this:

Leave a Reply Cancel reply

Discover more from BRYN DONOVAN

Heart-Pounding Moments: Describing Being Scared in Creative Writing

Why Describing Heart-Pounding Moments is Essential in Creative Writing

Utilize Emotion-Driven Language to Evoke Fear in Readers

Choose the Perfect Setting to Amplify Fearful Moments

Leave a Comment Cancel reply

Reach out to us for sponsorship opportunities.

32 Ways To Write About Fear

How do we write about fear in an authentic way?

A) Physical Reactions

B) Body Language

C) Rational Or Irrational?

D) Ways To Create Conflict With Fear

E) The Importance Of Fear In Plotting

1 thought on “32 Ways To Write About Fear”

How to Describe Fear in a Story

How it Adds Description

4. Exhausting

6. Terrifying

8. Insignificant

10. Irrational

how to describe worried eyes?

How to Describe Scared in a Creative Writing Class

Apprehensive

The Craft Of Fear Mongering: How (And Why) To Scare Your Readers (UPDATED 2024)

Review Board is now open! Submit your Short Prose, Poetry, and Book today!

Writing Technique: Make Your Readers More Afraid

Submit a Comment Cancel reply

Services Catalog

Free Publishing Leads and Tips!

Featured Articles

Featured Video

WHY? Because our insider know-how has helped writers get over 18,000 acceptances.

Pin It on Pinterest

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

23 Best Tips for Describing Nervousness in Writing

1) Demonstrate, Don’t Describe

2) Use Body Language

3) Incorporate Inner Monologue

4) Employ Facial Expressions

5) Manipulate Pace and Sentence Structure

6) Use Metaphors and Similes

7) Utilize Dialogue and Tone

8) Leverage Environmental Interaction

9) Use Sensory Descriptions

10) Incorporate Thought-Action Sequences

11) Use Repetitive Actions or Tics

12) Play with Syntax and Grammar

13) Utilize Flashbacks or Imagery

14) Exaggerate for Effect (Hyperbole)

15) Punctuate with Silence

16) Use Dialogue Tags and Modifiers

17) Add Color to Breathing and Voice

18) Describe the Passing of Time

19) Break It with Humor

20) Employ Foreshadowing

21) Bring it Full Circle (Callback)

22) Layered Emotions

23) Blend Multiple Techniques

30 Words to Describe Nervousness in Writing

30 Phrases to Describe Nervousness in Writing

3 Full Descriptions of Nervousness in Different Genres

Science Fiction

Final Thoughts: How to Describe Nervousness in Writing

How To Describe Nervousness In Writing (13 Best Ways)

How To Describe Nervousness In Writing

Establish the Context

Use Sensory Details

Internal Monologue

Physical Reactions

Metaphors and Similes

Body Language

Setting Description

Repetition and Patterns

Character’s Reactions

Foreshadowing