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• Jul 15, 2022

Describing Locations in Your Script: Things to Keep in Mind

Describing locations in a script is a task most novice screenwriters overlook. The story arcs, structure, and characters tend to gain the main focal point, while the locations are left behind. Realistically, a great script pays attention to the locations, no matter how insignificant some of them might seem.

With this in mind, below will discuss a few main points by describing locations in your script. We’ll discuss where you describe locations, the writing style, combining action, the importance of the setting, and more. By the end, you’ll know what to do location-wise with your writing.

Still from 'The Dark Knight (2008)'. Photo credit: Comicbook

Where to Describe Locations

The specific location in a scene is always described in the scene description. Though it’s possible to have a character react to the scene, they’re in as an additional description metric, that isn’t the main point. The description is meant to direct action (characters or environment interact with something) and the scene's location.

What Scene Description is Meant For

● The Look (Location Description)

● The Action

● The Characters

Describing locations is a happy balance of knowing what to describe in the scene. Going with straightforward adjectives like clean, dirty, minor, or significant are common and simple enough to remember. However, it’s best to think a little outside the box with adjectives as a way to put a more in-depth painting of the location. However, remember not to be too wordy.

Active Voice

As great as it is to have a great description of a scene, none of that matters if it’s not written in an active voice. For those who don’t know, an active voice describes a sentence where the subject acts. All scene descriptions, including location descriptions, should be written in an active voice.

Passive Voice

Dirt was thrown across the room by Joe.

Joe throws dirt across the room.

Notice how the subject (Joe) does the action (dirt) instead of the opposite. Keep that in mind with all of your descriptions, especially when describing a location. Stick with the room is or the building is, or the park is . A room, building, and park aren’t the only locations meant for description. Just remember to mention the location first and then the adjectives to describe it.

Combining Action with Locations

Besides knowing the foundation of how to write about a location, sometimes descriptive action can demonstrate the location better. The way characters interact with their environment can highlight where they are and the types of characters. For example:

INT. TENNIS COURT - DAY

Joe and Jack are PLAYING TENNIS in an empty park with no one around. Joe tosses a tennis ball on the ground, and it hits a CRACK. The ball bounces awkwardly and hits Joe in the mouth.

Though you might add a further description of what the two characters are wearing and so forth, you should get the point. The two characters are playing tennis and the ball hitting a crack paints a picture that the tennis court isn’t well-put-together. You can add a description before this action to further this point while it ties it together.

The best example of combining action with locations is in action scripts. Characters typically dodge behind spots in the location for cover, giving the audience a better idea of what the place looks like. An excellent example of this is the opening heist scene in The Dark Knight (2008) and the end rescue mission of Morbius in The Matrix (1999) .

The Importance of the Right Setting

One of the most significant issues people have with developing their scripts is finding the right setting. In some instances, it’s straightforward enough with skaters going to a skatepark or a couple on a first date going to see a movie. In some instances, it’s something completely new that isn’t easy enough to describe.

Examples include where someone lives, works, or a completely made-up area that we see in a Science Fiction or Fantasy script. The latter is the more challenging task, but all permit the same question: How do you describe a location well enough, so the person reading it knows what it looks like?

Not Overdescribing

Now that you know all of the essentials for describing locations in your script, the last point has to do with over-describing. Many writers get in their heads about how they should write, aiming to become the next great writer. In reality, scriptwriting doesn’t require an overwordy style to appear to be a better writer.

Use flavorful language while understanding that only a few sentences are needed. The old saying is that a script shouldn’t read like a book. Keep that in mind while you’re crafting your script, particularly describing locations. Lastly, consider reading several popular scripts to see how they describe locations and what you can take.

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How to Describe a City in Writing (100+ Best Examples)

Crafting compelling descriptions of cities is a skill that can vividly immerse your readers in your narrative.

Here’s how to describe a city in writing:

Describe a city by considering its size, culture, age, geography, architecture, infrastructure, economy, climate, landscape, and nightlife. Each characteristic offers a unique perspective, allowing you to craft a vivid, engaging description. Tie your description to your theme.

This article will guide you through the process of describing a city, focusing on ten crucial elements that add life and color to your descriptions.

10 Elements for Describing a City in Writing

Table of Contents

When describing a city in writing, you need to know these 10 elements:

Architecture

Infrastructure.

Next, let’s explore each of these elements in more detail and provide examples of how to apply them to your own stories.

Size refers to the scale of a city in terms of its physical extent and population.

By mentioning the size, you set a foundation for the readers, giving them a sense of the city’s vastness or compactness.

Words to Describe the Size of a City in Writing

• Densely populated
• Medium-sized

Examples of Describing a City by Size

• Sprawling across the landscape like a behemoth, the metropolis swallowed the horizon whole.
• With a population exceeding millions, the city buzzed with ceaseless activity.
• The dense network of streets formed a compact, labyrinthine cityscape.
• It was a small city, where everybody knew everybody.
• The city was vast, its boundaries stretching as far as the eye could see.
• Its towering skyscrapers were a testament to its grandeur and size.
• Nestled in the valley, the city covered a small area, yet housed a myriad of cultures.
• The size of the city was deceptive; it was more densely populated than it appeared.
• The city was a sprawling canvas of urbanity, cutting across county lines.
• The petite city was neatly crammed into a pocket of the mountainside.

Culture comprises the beliefs, traditions, arts, and history that influence a city’s way of life.

Highlighting the culture paints a vivid picture of the people, customs, and ethos that define the city.

Words to Describe the Culture of a City in Writing

• Traditional
• Cosmopolitan
• Multicultural
• Conservative
• Progressive

Examples of Describing a City by Culture

• The city was steeped in ancient traditions, echoing its ancestral roots.
• Its lively arts scene painted the city with an irreplaceable cultural vibrancy.
• The city was a melting pot of diverse cultures, blending seamlessly into one another.
• The annual festival was a cultural extravaganza that transformed the city into a carnival.
• The city was synonymous with classical music, its soul resonating in symphony.
• The local cuisine, a testament to the city’s rich culture, left a tantalizing aroma in the air.
• An artistic hub, the city was a cradle of avant-garde movements.
• The city’s cultural tapestry was woven with threads of countless ethnicities.
• The city wore its history like a proud badge, its culture speaking volumes of its glorious past.
• The city was a cultural cocktail, stirred with vibrant arts, and timeless traditions.

The age of a city refers to how long it has existed, which is often reflected in its architectural style, infrastructure, and historical landmarks.

Describing the age can transport your reader back in time or into the future.

Words to Describe the Age of a City in Writing

• Prehistoric
• Contemporary

Examples of Describing a City by Age

• The city’s ancient walls were steeped in history, whispering tales from centuries ago.
• The futuristic skyline was a testament to its recent establishment.
• Age-old monuments punctuated the city, standing tall as symbols of its venerable past.
• The city was a blend of old and new, where modernity met antiquity.
• Modern skyscrapers towered over the city, evidence of its recent urban development.
• The city was an enduring relic of the Medieval Age, its cobblestone streets weaving tales of yore.
• With buildings dating back to the Victorian era, the city was an open history book.
• Despite its youthful age, the city wore an old soul.
• The city was a testament to the future, a spectacle of cutting-edge technology and sleek architecture.
• Age-old traditions thrived amidst the modern cityscape, telling tales of a city that respected its past.

Geography describes the city’s location, its physical features, and how these factors influence the city’s character and lifestyle.

Words to Describe the Geography of a City in Writing

• Mountainous

Examples of Describing a City by Geography

• The city was built on hills, its houses twinkling like stars on an undulating landscape.
• Its coastal location made the city a paradise for beach lovers.
• Tucked between mountains, the city was a serene oasis in a rugged setting.
• The desert city was a mirage of golden sands and sparkling oases.
• The city was a confluence of rivers, forming a scenic waterfront that buzzed with life.
• Surrounded by dense forests, the city was an island of urbanity in a sea of wilderness.
• The coastal city was a playground of surf and sand, where the sea kissed the cityscape.
• The city was a picturesque valley carved into the heart of the mountains.
• A city of islands, it was a constellation of vibrant urban life amidst the tranquil sea.
• The city was an urban jewel nestled in the heart of the vast plains.

Architecture refers to the style and character of the city’s buildings and structures.

It speaks to the city’s history, culture, and technological progress.

Words to Describe the Architecture of a City in Writing

Examples of describing a city by architecture.

• Gothic spires and Romanesque arches painted a canvas of architectural marvels.
• The cityscape was a fusion of Brutalist concrete and sleek glass towers.
• Traditional thatched cottages adorned the city, a spectacle of rustic charm.
• The city was a palette of Art Deco buildings, their geometric patterns a testament to its rich architectural legacy.
• Modern skyscrapers dotted the city skyline, interspersed with green terraces and solar panels.
• The city was a sprawling labyrinth of narrow alleys, flanked by ancient terracotta houses.
• The city was a spectrum of architectural styles, from Victorian houses to modern lofts.
• The city’s architecture was a reflection of its sustainable ethos, with green roofs and walls covered in foliage.
• The city’s colonial architecture narrated tales of a bygone era.
• Futuristic architecture characterized the city, with self-sustaining buildings and smart infrastructures.

Infrastructure speaks to the functionality of a city – its roads, bridges, public facilities, and utilities.

It provides insights into the city’s level of development and organization.

Words to Describe the Infrastructure of a City in Writing

• Well-developed
• Sustainable
• Disorganized

Examples of Describing a City by Infrastructure

• The city boasted an intricate network of subways, making commuting a breeze.
• Its wide boulevards were lined with trees, merging functionality with aesthetics.
• The city had a robust public transportation system that kept its lifeblood flowing.
• Advanced telecommunication infrastructures turned the city into a global hub of digital innovation.
• Its well-planned bike lanes made the city a paradise for cyclists.
• The city was illuminated by solar-powered streetlights, a testament to its green infrastructure.
• The city’s skywalks connected buildings, forming a labyrinth above the hustle and bustle.
• The city’s efficient waste management system kept its streets clean and green.
• The city’s infrastructure was a seamless blend of urbanity and nature.
• The city was a beacon of technological prowess, its infrastructure speaking volumes of its progress.

The economy of a city speaks about its wealth, main industries, and job opportunities.

It gives the reader a sense of the city’s prosperity or lack thereof.

Words to Describe the Economy of a City in Writing

• Impoverished
• Agricultural
• Technological

Examples of Describing a City by Economy

• The city was a bustling hub of commerce, its markets buzzing with activity.
• It was an industrial city, its skyline punctuated with factories and smokestacks.
• The city’s booming tech sector attracted talent from around the globe.
• Its struggling economy painted a city in decay, with boarded-up storefronts and desolate streets.
• The city was a hub of finance, home to towering banks and bustling stock exchanges.
• A rich agricultural economy defined the city, its verdant farms a testament to its wealth.
• The city thrived on tourism, its bustling streets a carnival of foreign faces.
• The city was an emblem of prosperity, its thriving economy lifting people out of poverty.
• Despite the economic downturn, the city held onto its vibrant spirit, a testament to its resilience.
• The city’s economy was a vibrant tapestry of trade, services, and manufacturing.

Climate characterizes the city’s weather patterns throughout the year.

It can deeply influence a city’s culture, lifestyle, and even architecture.

Words to Describe the Climate of a City in Writing

• Mediterranean
• Continental
• Subtropical

Examples of Describing a City by Climate

• The city was blessed with a temperate climate, keeping it lush and vibrant all year round.
• Its harsh winters painted the city in shades of white, with frost-etched buildings and snow-blanketed streets.
• The tropical climate kept the city in a perpetual state of summer, with azure skies and sun-kissed streets.
• The city was a desert, its climate oscillating between scorching days and frigid nights.
• The city’s Mediterranean climate filled it with fragrant breezes and clear, sunny days.
• The city was caught in an eternal spring, awash with blooming flowers and chirping birds.
• The city experienced four distinct seasons, painting a vivid palette of changing landscapes.
• The city was infamous for its torrential rains, transforming its streets into rivulets.
• The city’s harsh climate made it a fortress of solitude, its cold winters keeping outsiders at bay.
• The city’s mild climate was a relief to its residents, offering respite from extreme weather.

Landscape refers to the natural and artificial features that shape the city’s terrain and overall visual appearance.

Words to Describe the Landscape of a City in Writing

Examples of describing a city by landscape.

• The city was a symphony of undulating hills and glass-and-steel towers.
• Its landscape was punctuated with verdant parks, like emeralds set in concrete.
• The city was a mosaic of picturesque canals and charming footbridges.
• The city’s landscape was a spectacular blend of towering cliffs and sweeping beaches.
• The city’s landscape was dominated by a majestic mountain that stood as a silent sentinel.
• The city was a concrete jungle, a dense matrix of buildings interspersed with occasional pockets of green.
• The city’s vast plains stretched to the horizon, a vast checkerboard of farmland and urban clusters.
• The city was characterized by its dramatic coastline, where jagged cliffs met the roaring sea.
• The city was nestled in a lush forest, its buildings camouflaged amongst the towering trees.
• The city’s landscape was a harmonious blend of the old and new, where verdant vineyards met sprawling shopping malls.

Nightlife includes the after-dark activities that a city offers – from dining, music, and theater to clubs, bars, and other entertainment venues.

It reflects the city’s vibrancy and energy when the sun sets.

Words to Describe the Nightlife of a City in Writing

• Nonexistent
• Underground
• Sophisticated

Examples of Describing a City by Nightlife

• The city came alive at night, its streets pulsating with lights and music.
• The city’s nightlife was a whirlwind of neon signs, lively bars, and pulsating dance floors.
• The city was famous for its jazz clubs, their sultry tunes wafting into the night.
• The city’s vibrant night markets were a treasure trove of culinary delights.
• The city’s nightlife was a spectrum of opera houses, theaters, and art galleries, enriching the cultural fabric.
• The city’s skyline glittered with rooftop bars, offering panoramic views of the starlit cityscape.
• The city’s after-hours was a playground for night owls, teeming with nightclubs and music venues.
• The city’s tranquil nights were a respite from the bustling days, its streets bathed in the soft glow of streetlights.
• The city was a nocturnal paradise, its nightlife teeming with gourmet restaurants and wine bars.
• The city’s night scene was a melting pot of cultures, its streets resonating with music from around the world.

Here is a good video about how to describe a city in writing:

3 Full Examples of City Descriptions in Writing

Here are three full examples of how to describe a city in writing.

Nonfiction Essay

Los Angeles is a sprawling city, spreading across a vast, flat coastal plain nestled between mountains and the Pacific Ocean. Its multicultural nature is palpable, a melting pot where hundreds of cultures converge to create a rich tapestry of humanity. From Little Tokyo to Olvera Street, the city offers cultural enclaves that transport visitors to different corners of the world.

The architecture of Los Angeles tells a tale of its age and history.

From the contemporary designs of downtown skyscrapers to the Spanish Colonial Revival structures that pay homage to the city’s early days, LA offers a visual feast of architectural styles. Infrastructure-wise, Los Angeles is a car-centric city, known for its iconic freeways, yet, it is also actively expanding its public transportation system.

The climate in LA is Mediterranean, providing its residents with sunshine nearly all year round.

This, combined with the city’s picturesque landscape of rolling hills and sandy beaches, contributes to the quintessential Southern Californian lifestyle. The nightlife in Los Angeles, known for its glitz and glamor, mirrors the city’s reputation as the entertainment capital of the world.

Mystery Novel

The city of Edinburgh, ancient and mysterious, was shrouded in a veil of fog.

Narrow, winding streets wound their way up and down the city’s undulating terrain, past centuries-old Gothic buildings that seemed to hold whispered secrets in their cold stone. The towering Edinburgh Castle, perched atop an extinct volcano, cast long, eerie shadows across the Old Town, lending an air of mystique.

Despite the Scottish capital’s gloomy weather, the city was alive with culture. The annual Fringe Festival transformed the streets into a vibrant tapestry of theatre, music, and dance. Meanwhile, tucked away in the corners of the city were hole-in-the-wall pubs, where folk music hung heavy in the air.

Even in the dead of night, the city refused to sleep.

The pubs and clubs of the Royal Mile, teeming with locals and tourists alike, created an eclectic nightlife. The cobblestone streets echoed with faint laughter, ghostly footfalls, and the faint skirl of bagpipes, imbuing the city with an aura of enchanting mystery.

Romance Novel

Venice, with its endless maze of canals and charming footbridges, seemed to have been woven from dreams.

It was an intimate city, its compact geography fostering a unique, close-knit culture. The melodies of the gondoliers’ serenades drifted through the air, their words telling tales of age-old love stories.

The city’s Gothic architecture, ornate and elegant, reflected in the shimmering waters of the Grand Canal. The iconic Rialto Bridge, a testament to Venice’s architectural prowess, served as a lover’s meeting spot, its stone balustrades bearing witness to countless stolen kisses.

The Venetian economy thrived on tourism and the arts, its numerous mask shops, and glass-blowing factories testifying to the city’s artisanal heritage.

Venice was a city that never hurried. Its pace was defined by the gentle ebb and flow of its canals.

As twilight descended, the city transitioned from a bustling tourist hub to a serene sanctuary. The street lamps flickered to life, casting a romantic glow on the cobblestones. The serenade of the gondoliers intertwined with the soft whispers of the wind, composing a nocturnal symphony that was the heartbeat of this city of love.

Final Thoughts: How to Describe a City in Writing

Before you type “THE END” to your story, essay, or piece of writing, consider how your city weaves into the tapestry of your narrative.

Particularly, how your city embodies and exposes the theme.

Related Posts:

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

A Guide to Descriptive Writing

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

What is descriptive writing?

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

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

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

What is Descriptive Writing?

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

The term descriptive writing can mean a few different things:

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

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

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

How Much Description is Too Much?

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

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

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

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

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

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

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

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

Descriptive Writing Tips

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

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

Here are some general tips for descriptive writing:

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

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

10 descriptive writing practices.

How to Practice Writing Description

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

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

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

Descriptive Writing

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

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

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

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

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

Thank you for this. R.G. Ramsey

You’re welcome!

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

You’re welcome, Bella.

Hello Melissa

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

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

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

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

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

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

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

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

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

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

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Quick tips for describing places in your stories

Making your settings tangible is an important part of writing great stories, but doing that is easier said than done. Here are some things to avoid, some quick tips for writing descriptions well and a few helpful exercises for describing places in your writing.

For more help with your settings and descriptions, I’ve also written about seasons in your story setting and about writing character appearance .

Want to stop reading writing tips and actually become a better writer?

Writing tips mean nothing if you don’t ever use them in your writing. With my collection of 40 writing exercises, you learn to apply all my best tips and you become a better writer before you even know it. Just fill in this form and I’ll send them to you straight away.

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Other related posts: Researching your historical fiction setting

How much description is too much when you describe a place in writing?

Although you should describe your settings somehow, you shouldn’t do all of it at once, and usually, you should make sure your readers get to know your characters first. That said, it’s impossible to say how much is the right amount.

When your descriptions really bring your settings to life and they’re important to the dramatic effect of your story, it’s fine to have more of them. But if you’re struggling with this aspect of storytelling or the settings aren’t vital for your character’s experience, I’d recommend sticking to the bare minimum.

If you’re not sure, ask for someone else’s opinion! Show them your writing and ask if they get a real feel of your settings or if they think your descriptions add nothing to the story.

What is exposition?

Exposition is close to description, and it means inserting background information into your story. Some exposition is usually needed to make your places feel realistic because knowing the history and meaning of your settings is important too. The names of characters and places also count as exposition, and those things are obviously important.

You might feel like it’s absolutely necessary for your reader to know everything about the places in your story. After all, you’ve imagined these settings, and it’s important to you that your readers see them as they should. Still, you can’t give all the information at once. Let your readers discover the world at a slower pace.

Try to find a balance between inserting information in your narration and having your characters think or talk about your setting. Of course, this is easier said than done, but that’s what editing your novel is for.

The best ways to describe places in your story

Here comes my best tip for describing places in your story: use your character’s senses . Preferably all five of them.

How does this work? It’s essentially just a more specific way of saying “show, don’t tell”.

So instead of writing “The house smelled bad”, you could say “Steve covered his nose, hoping he wouldn’t gag.” And instead of telling your readers how cold and rainy this village in Scotland is, you could show us how her wet shoes make your protagonist feel and how she’s shivering despite four layers of clothing.

That said, not everything in your story needs to be or can be described in this way. Sometimes you just need to use a single adjective, and that’s okay. Experiment with different levels of descriptions and see which one fits the tone and pacing of your scene the best. But anything that you want your readers to really experience should be described in a way that involves your characters’ senses.

Show your story settings through character actions and feelings

Another way to show what your settings are like is through the actions of your characters. Maybe they wipe the dust off their trousers, or they could be slipping on ice in addition to shivering in cold. Characters also have feelings about everything, which they express through thoughts and words as well as actions.

Imagine you’re writing about a mansion with several very expensive things. If you were just listing all these items, your reader would likely get bored, and none of that would bring the story forwards. If at all possible, always have your characters moving! Have them close the heavy velvet curtains, dust off the silver candlesticks and fall onto the marble floor.

You could also write something like “Maureen had always had certain disdain for people who lived in places like that. People who had inherited everything from their ancestors and hadn’t worked a day in their lives to earn the luxuries they were drowning in.” This, of course, says something about the character as well, because it’s impossible to describe things without revealing a bit of yourself. (This goes for the writer as well, just to be clear.)

Writing exercises for describing places

Let’s pretend you’re a character in a novel. (Or were you doing that already?) Look around where you are right now and write down these things with a word or two: temperature, what it smells like, how bright or how dark it is, what the surface of what you’re sitting/standing on feels like, what is the most noticeable feature in your surroundings.

Let’s say you’re reading this outside and it’s very sunny. Instead of flat out saying how sunny it is, you could say how the sun makes you squint and how it makes your eyes water. You could say how glad you are you took sunglasses with you so you can avoid getting another headache. Now do the same for all the other items on your list.

The second exercise requires you to watch a movie or something on television, and pick a scene where one of the characters arrives in a new setting. Pause the movie and write down what the setting is like. Then press play again and pretend you can’t see the setting at all, just the character. How is the character experiencing the setting? How are they interacting with it? Write it down.

Your third exercise: Choose a place you absolutely adore and write about it in detail. Then write about it from the point of view of someone who completely despises the place. If you don’t think there’s a difference, you need to re-read my tips above and try again.

Are there other aspects of storytelling besides describing places that you struggle with? Let me know in the comments and I’ll write another post for you!

Get even more writing exercises

If you’d like to get more writing exercises that teach you about describing things in your writing and everything else important that a great story needs, I’ve got what you need.

I created the 30 Day Writing Challenge for writers who want to stop reading writing tips and start to actually apply them to their writing. You get a writing exercise for each day and an explanation of why it’s important, and after a month you’ll be a considerably better writer.

Protagonist Crafts is a blog written by Katri Soikkeli. Katri is a published author, creative writing teacher and tiny business owner who writes fiction, poetry, blogs and nonsense. You can find more of her writing in the blog and you can get her best author tools at Writer Lifestyle on Etsy.

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Thank you. There probably can’t be enough reminders about this. Your exact suggestions are very helpful.

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How To Describe A Crowded Place In Writing (10 Important Tips)

In the intricate dance of storytelling, the ability to vividly portray a crowded place is a skill that breathes life into the pages of literature.

Describing a bustling, teeming environment requires a delicate blend of observation, atmosphere creation, and the adept use of language.

From the pulse of the crowd to the subtle interplay of individual stories, the art of capturing a crowded place in writing goes beyond mere enumeration; it delves into the realm of sensory engagement, transporting readers to the heart of the bustling scene.

In this exploration, we will unravel the techniques that transform words into a living, breathing tapestry, where each detail contributes to the vibrant atmosphere and the collective energy of the crowd becomes a palpable force.

Join us on a literary journey as we uncover the nuances of describing crowded places, discovering the keys to unlocking immersive and evocative storytelling.

Table of Contents

How To Describe A Crowded Place In Writing

Certainly! Describing a crowded place in writing involves capturing the sights, sounds, and atmosphere to convey the sense of busyness and congestion. Here’s a step-by-step process:

Observation

Begin by carefully observing the crowded place. Take note of the people, their activities, and the overall environment. Pay attention to details such as clothing, facial expressions, and gestures.

Setting the Scene

Start your description by setting the scene. Mention the location, time of day, and any relevant context. This provides readers with a foundation for imagining the crowded place.

Sensory Details

Engage the senses by describing what you see, hear, and feel. Mention the colors, shapes, and movement of the crowd. Include sounds like chatter, footsteps, and background noise. Describe any tactile sensations, such as the warmth of bodies close together.

Focus on Individuals

Highlight specific individuals in the crowd to add depth to your description. Choose a few people and describe their appearances, actions, or emotions. This helps readers connect with the scene on a personal level.

Movement and Flow

Describe the ebb and flow of the crowd. Discuss how people navigate through the space, whether smoothly or with difficulty. Mention any bottlenecks or areas of congestion.

Emotions and Energy

Convey the emotions and energy of the crowd. Are people excited, stressed, happy, or impatient? Use descriptive language to capture the overall mood and atmosphere.

Comparisons and Metaphors

Use comparisons and metaphors to enhance your description. For example, liken the crowd to a swarm of bees or a sea of humanity. This adds richness to your writing and helps readers visualize the scene.

Organize Your Description

Arrange your observations in a logical order. You may want to start with a broad overview and then zoom in on specific details. Consider the flow of your writing to guide readers through the crowded place.

Avoid Clichés

Be mindful of clichés and try to use fresh, original language. Instead of relying on common phrases, find unique ways to express the intensity and density of the crowd.

Editing and Revision

After the initial draft, review and revise your description. Ensure that your language is vivid and evocative. Trim unnecessary details and refine your writing to create a clear and immersive picture of the crowded place.

Observational Techniques

In the intricate dance of storytelling, observational techniques are the virtuoso notes that compose the symphony of vivid description.

Imagine wielding a magnifying glass as your pen, zooming into the minutiae of existence to reveal the pulsating heartbeat of life.

It’s not just about seeing; it’s about peering beyond the surface, noticing the imperceptible tremors that ripple through the ordinary.

It’s the art of capturing the delicate interplay of light and shadow, the fleeting expressions etched on faces, and the subtle choreography of movement that brings a narrative to life.

Observational techniques are the alchemy of perception, transforming the mundane into the extraordinary, and allowing the writer to paint with the colors of nuance and detail, creating a world so palpable that readers can almost feel the heartbeat of the words on the page.

Detailed Observation

Detailed observation is the compass that guides the writer through the uncharted territories of storytelling. It’s the commitment to unwavering attention, a conscious decision to not merely glance but to immerse oneself in the rich tapestry of surroundings.

It’s about dissecting the ordinary and discovering the extraordinary in the nuances that might otherwise slip unnoticed into the background.

Detailed observation unveils the secrets woven into the fabric of existence, peeling back layers to expose the vibrant core of authenticity.

It’s a journey into the microscopic, a deliberate act of seeing beyond the obvious, where every flicker, every crease, and every whisper of existence becomes a brushstroke in the masterpiece of description.

Through detailed observation, the mundane transforms into the extraordinary, and the writer becomes a meticulous curator, selecting and presenting the world in all its intricacy to captivate the reader’s imagination.

Creating a Vivid Atmosphere

Creating a vivid atmosphere is akin to being a literary sorcerer, conjuring realms of emotion and sensation with the stroke of a pen.

It’s not just about words on a page; it’s about orchestrating an entire sensory symphony that wraps readers in a tapestry of immersive experience.

Imagine the atmosphere as a living, breathing entity—birthed from the fusion of time, weather, and the very essence of a place.

It’s the warm embrace of sunlight on a bustling street, the ominous shroud of fog weaving through ancient alleys, or the electric buzz of anticipation in the air before a storm.

Through the magic of vivid atmosphere creation, a story transcends its narrative boundaries, inviting readers to not only read but to inhale, feel, and taste the very essence of the world unfolding before them.

It’s an art that goes beyond description; it’s an invitation to step into the pages and dance within the atmospheric dreamscape.

Setting the scene is the writer’s invitation to the reader, a carefully crafted portal that beckons one to step into the canvas of imagination.

It’s the art of sculpting the initial impression, a delicate dance between words that paints the backdrop against which the narrative unfolds.

Picture it as the first brushstroke on a blank canvas, setting the tone for the entire masterpiece. Whether it’s the soft glow of dawn casting long shadows across a sleepy village or the neon-lit hustle of an urban junction at midnight, setting the scene is about more than just time and place; it’s about cultivating the atmosphere that breathes life into the story.

Through this narrative threshold, readers are transported to worlds both familiar and fantastical, where the air is thick with anticipation and every detail, from the creaking floorboards to the distant hum of traffic, plays a crucial role in shaping the immersive experience.

Capturing the Essence of Crowds

Capturing the essence of crowds is akin to sculpting with chaos—a delicate dance between the cacophony of individual stories and the collective heartbeat of a bustling hive.

It’s not just about numbers; it’s about distilling the vibrant kaleidoscope of humanity into a potent elixir of energy and diversity.

Imagine a tapestry woven from the laughter of children, the hurried whispers of lovers, and the rhythmic footsteps of passersby, each thread contributing to the grand narrative of the collective human experience.

It’s about encapsulating the ebb and flow, the choreography of movement, and the symphony of overlapping conversations that compose the urban ballet.

In the midst of this human tapestry, the writer becomes a storyteller-architect, constructing narratives from the mosaic of lives converging and diverging in a ceaseless dance of existence.

Capturing the essence of crowds is not just a literary endeavor; it’s an immersive plunge into the heartbeat of the human mosaic.

Describing Movement

Describing movement is akin to translating the silent poetry of existence into the language of motion. It’s about capturing the dance of life, the rhythm that courses through the veins of both animate and inanimate.

Imagine the fluidity of a city street during rush hour—the pendulum-like sway of pedestrians, the balletic choreography of vehicles navigating the urban symphony.

Movement is the heartbeat of a scene, the invisible force that shapes the atmosphere and lends vitality to the narrative canvas.

Whether it’s the graceful flutter of leaves caught in a whimsical breeze or the purposeful stride of a character crossing a room, describing movement is about more than just locomotion; it’s about evoking the very essence of existence, where every step, every gesture, becomes a brushstroke in the living painting of a story.

It’s the art of imbuing stillness with rhythm, turning moments into a choreographed spectacle that pulses with the heartbeat of life.

Managing Point of View

Managing point of view is the narrative tightrope walk, where the writer dons the shoes of an omnipotent puppeteer or slips seamlessly into the skin of a singular protagonist.

It’s not merely a choice between “I” and “they”; it’s the architectural blueprint that shapes the reader’s lens into the story’s soul.

Imagine the writer as a skilled illusionist, masterfully revealing and concealing perspectives, unlocking secret chambers of emotion or guarding them with a literary sleight of hand.

Managing point of view is the deliberate act of framing the narrative through a specific prism, whether it be the intimate confessions of a first-person narrator or the panoramic omniscience that spans the entire universe of the story.

It’s about orchestrating the unveiling of truths and mysteries, inviting readers to be either confidantes or voyeurs in the grand theater of words.

In the realm of storytelling, managing point of view is not just a stylistic choice; it’s the wielder of narrative power, shaping perceptions and unraveling tales with the finesse of a literary sorcerer.

Choosing the Right Perspective

Choosing the right perspective in storytelling is akin to selecting the perfect lens for a captivating photograph; it frames the narrative and shapes the reader’s connection to the unfolding tale.

It’s a deliberate decision that molds the very essence of the story, determining whose eyes the audience will peer through and, consequently, whose emotions and experiences will be intimately shared.

Picture the writer as a cinematic director, carefully choosing between the intimacy of first-person narration, offering the raw, unfiltered emotions of a single protagonist, or the panoramic vista of third-person omniscience, providing a broader canvas to explore diverse characters and intricate plotlines.

The chosen perspective is the narrative compass, guiding readers through the labyrinth of the author’s imagination.

In this literary realm, selecting the right perspective isn’t just a technical choice; it’s the alchemy that transforms words into immersive experiences, forging a unique connection between storyteller and audience.

Balancing Detail and Focus

Balancing detail and focus in writing is akin to wielding a finely tuned camera, where the aperture must delicately adjust to capture the nuances without drowning the audience in a visual cacophony.

It’s a dance between the microscopic and the panoramic, a literary tightrope act that allows the writer to unveil the intricacies of a scene while maintaining a sharp, coherent narrative edge.

Imagine crafting a mosaic where every tile contributes to the larger picture without overshadowing the central theme.

Balancing detail and focus is the art of selectivity, akin to a master chef choosing the perfect ingredients to concoct a culinary masterpiece.

Too much detail can overwhelm, like an overzealous brushstroke, while too little may leave the canvas barren. It’s about finding that elusive equilibrium, where each descriptive element is a note in the symphony, harmonizing to create an immersive and resonant reading experience.

In the realm of storytelling, the balance between detail and focus isn’t just a technical feat; it’s the secret recipe that transforms words into a vivid, living tapestry.

Selective Detailing

Selective detailing in writing is the art of wielding a finely honed scalpel, surgically extracting the most potent elements to illuminate a narrative without drowning it in excess.

It’s the literary equivalent of capturing the essence of a moment through a keyhole, revealing only what is essential for the reader’s imagination to construct the complete scene.

Imagine a painter choosing brushstrokes with meticulous care, creating texture and depth with each deliberate stroke.

Selective detailing is not about drowning the reader in a surplus of information but rather inviting them to become co-creators of the narrative, allowing their minds to fill in the gaps.

It’s a dance of omission and revelation, where every chosen detail serves a purpose, resonating with significance and contributing to the overall atmosphere of the story.

In this intricate dance, the writer becomes a curator, presenting a carefully curated collection of details that, when woven together, create a tapestry that is both evocative and immersive.

Crafting Engaging Dialogue

Crafting engaging dialogue is akin to composing a symphony of spoken words—a delicate harmony that resonates with the rhythms of the human experience.

It’s not merely characters exchanging sentences; it’s the art of infusing conversations with the electricity of authenticity, the ebb, and flow of emotions that ripple through every spoken syllable.

Imagine the dialogue as a vivid tapestry woven from threads of personality, each character a distinct hue in the verbal palette.

Crafting engaging dialogue is about more than conveying information; it’s about revealing the intricate dance of relationships, the unspoken tensions, and the unsung melodies that linger between spoken lines.

It’s a choreography where words become a tangible force, propelling the narrative forward with the pulse of genuine human interaction.

In this realm, the writer transforms into a linguistic virtuoso, orchestrating dialogues that are not just exchanges but resonant notes in the grand composition of storytelling.

Utilizing Overheard Conversations

Utilizing overheard conversations in writing is akin to discovering a hidden treasure trove of authentic human expression.

It’s the art of eavesdropping on the unscripted symphony of life, where snippets of dialogue become the raw, unfiltered cadence of genuine communication.

Imagine wandering through a crowded cafe, each whispered confession and animated discussion a brushstroke on the canvas of inspiration.

Utilizing overheard conversations allows a writer to capture the spontaneity of real-life exchanges, infusing narratives with the rhythm and idiosyncrasies of authentic speech.

These fragments of dialogue carry the weight of truth, injecting an air of realism that resonates with readers, as if they, too, are surreptitiously sharing a clandestine moment in the lives of characters.

It’s more than transcription; it’s the alchemy of turning everyday conversations into narrative gold, breathing life into characters and adding a layer of richness to the storytelling tapestry.

Addressing Emotional and Psychological Aspects

Addressing emotional and psychological aspects in writing is akin to delving into the labyrinth of the human soul, where ink becomes the mirror reflecting the complexities of our innermost realms.

It’s the art of sculpting emotion with words, chiseling away the superficial to reveal the intricate architecture of feelings and thoughts.

Imagine the writer as a psychological architect, constructing characters not just with flesh and bone but with the intricate blueprints of their hopes, fears, and aspirations.

Addressing the emotional and psychological aspects of a narrative is not about merely narrating events; it’s about orchestrating a symphony of sentiment that resonates within readers.

It’s the exploration of the shadowy corners of the mind, where the light of empathy shines brightly, inviting readers to traverse the corridors of joy, pain, and everything in between.

Conveying Emotions

Conveying emotions in writing is akin to distilling the intangible into the tangible—a nuanced dance that transforms the ephemeral landscape of feelings into palpable words .

It’s about weaving a tapestry of emotion through carefully chosen phrases, where the resonance of every sentence echoes with the heartbeat of the characters and the pulse of the narrative.

Imagine the writer as an emotional alchemist, transmuting raw sentiments into a language that resonates universally.

It’s not just about telling readers what a character feels; it’s about inviting them to experience the emotional kaleidoscope firsthand.

Through well-crafted prose, the subtle nuances of joy, the weight of sorrow, the electric jolt of excitement, and the quiet ache of longing are not just described but are lived and felt.

Conveying emotions is an art of empathy, a bridge connecting the writer’s imagination with the reader’s heart, forging a bond that transcends the boundaries of the written page.

Concluding the Description

Concluding the description is akin to the final stroke of a painter’s brush, where every carefully chosen detail finds its place in the mosaic of imagery.

It’s the grand curtain call, the moment when the narrative whispers its last secrets and gracefully exits the stage.

Imagine the writer as a literary architect, placing the cornerstone of the conclusion with precision and purpose.

This is not a mere wrapping up; it’s the art of leaving lingering imprints on the reader’s imagination. Like a masterful magician revealing the grand finale, concluding the description is about balancing revelation and restraint, offering closure while leaving room for the echoes of possibility.

It’s the final chord in a symphony of words, resonating in the minds of readers long after the last page has turned.

In this concluding act, the writer bids farewell to the crafted world, allowing the story to linger like a wistful melody that refuses to be forgotten.

Summarizing Key Impressions

Summarizing key impressions is the writer’s penultimate act of distillation, a meticulous process of capturing the very essence of an intricately woven narrative.

It’s like crafting a literary snapshot, condensing the vivid tapestry of details into a concentrated elixir that lingers in the reader’s mind.

Imagine a storyteller as a curator, carefully selecting the most poignant strokes from the canvas of words. This summary isn’t a mere recapitulation; it’s a deliberate curation of impressions that have left an indelible mark on the reader’s senses.

It’s about distilling the emotional crescendos, the sensory nuances, and the characters’ defining moments into a concentrated bouquet, allowing readers to savor the lingering aftertaste of the narrative journey.

Summarizing key impressions is the art of crystallizing the story’s soul, leaving readers with a resonant chord that echoes long after the final word has settled.

Editing and Polishing

Editing and polishing are the sculptor’s meticulous touch, refining the raw marble of a narrative into a masterpiece.

It’s the alchemical process where words are not just rearranged but are meticulously chiseled, sanded, and polished to reveal their true brilliance. Imagine the writer as an artisan, carefully crafting each sentence until it gleams with precision and purpose.

This is not a mere exercise in grammar; it’s the surgical precision of a literary surgeon, removing the extraneous to expose the story’s beating heart .

Editing and polishing transcend the realm of correction; they elevate the prose to a symphony of language, where every word resonates in harmony with the narrative cadence.

Like a jeweler with a precious gem, the writer refines each sentence until it sparkles, leaving readers with a polished gem of storytelling that shines with the brilliance of careful craftsmanship.

Fine-Tuning Language and Tone

Fine-tuning language and tone is akin to a composer adjusting the notes of a melody until it resonates with the perfect harmony.

It’s the writer’s refined brushstroke, delicately applying nuances to language and tone to evoke the precise emotional response intended.

Imagine words as musical notes, and tone as the rhythm that guides their dance. This process is more than a cosmetic touch-up; it’s an orchestration of words, ensuring that every syllable and intonation contributes to the symphony of the narrative.

The writer becomes a linguistic sculptor, molding the prose into a vessel that carries not just meaning, but the very mood and atmosphere of the story.

Fine-tuning language and tone isn’t just about correctness; it’s the art of infusing the narrative with the subtlest shadings, creating an immersive experience that resonates deeply with the reader’s sensibilities.

Frequently Asked Questions about How To Describe A Crowded Place In Writing

How can i effectively capture the atmosphere of a crowded place in my writing.

To convey the atmosphere, focus on sensory details—describe the sights, sounds, and even tactile sensations. Engage your readers by illustrating the colors, movements, and energy of the crowd.

Is it necessary to include specific individuals in my description of a crowded place?

While not mandatory, spotlighting individuals adds depth. Choose a few people and describe their appearances or actions. This personalizes the scene, making it more relatable for readers.

How can I portray the movement and flow of the crowd in my writing?

Discuss how people navigate through the space. Highlight any congestion points or smooth pathways. Using terms like “ebb and flow” helps convey the dynamic nature of the crowd.

What role do emotions play in describing a crowded place?

Emotions are crucial! Capture the mood of the crowd—whether excitement, stress, or impatience. Integrating emotional elements adds a layer of realism to your description.

Are comparisons and metaphors effective in describing crowded places?

Absolutely. Use creative comparisons to enhance your description. For instance, liken the crowd to a bustling marketplace or a swirling vortex of activity. Metaphors provide readers with vivid mental images.

Should I start with a broad overview or immediately focus on specific details?

It depends on your writing style, but consider starting with a broad overview to set the scene before zooming in on specific details. This allows readers to grasp the context before delving into the intricacies of the crowded place.

How do I avoid clichés when describing a crowded place?

Be conscious of overused phrases. Strive for originality by finding fresh ways to express density and intensity. Instead of relying on clichés, use unique language to capture the essence of the crowd.

Is there a recommended order for organizing the description of a crowded place?

Arrange your observations logically. Start with a general portrayal and then delve into specific details. Ensure a smooth flow that guides readers through the crowded place, creating a coherent and engaging narrative.

How can I make my writing about a crowded place more immersive?

During editing, refine your language for vividness and clarity. Trim unnecessary details, and focus on creating an immersive experience by emphasizing key sensory elements that draw readers into the crowded environment.

Are there any tips for balancing detail and conciseness in describing a crowded place?

Strike a balance by including enough detail to paint a vivid picture without overwhelming readers. Prioritize significant elements that contribute to the overall atmosphere while avoiding unnecessary minutiae.

In conclusion, describing a crowded place in writing is an art that involves a thoughtful blend of observation, sensory engagement, and creative expression.

By focusing on the sights, sounds, and emotions within the bustling environment, writers can create a vivid and immersive portrayal.

Incorporating specific details about individuals, movements, and the overall atmosphere enhances the reader’s connection to the scene.

Utilizing comparisons, metaphors, and original language adds richness and uniqueness to the description, steering clear of clichés.

Whether starting with a broad overview or diving straight into specifics, a well-organized narrative ensures a smooth flow that guides readers through the crowded place.

Finally, during the editing process, refining language for clarity and immersion allows the writer to strike a balance between detail and conciseness, delivering a compelling and memorable depiction of a crowded setting.

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Enhance Your Descriptions: Adjectives for Place

When it comes to describing a place, choosing the right adjectives can make all the difference in painting a vivid picture in the reader’s mind. From bustling cities to serene landscapes, the right words can transport you to another world. In this article, I’ll be exploring a range of adjectives that can be used to describe various places, helping you to add depth and richness to your writing. So whether you’re a travel writer, a poet, or simply someone who loves to capture the essence of a place, read on to discover the power of adjectives in bringing locations to life.

From the enchanting cobblestone streets of Paris to the sprawling golden beaches of Bali, every place has its own unique character. Adjectives play a crucial role in capturing and conveying this character, allowing us to evoke the sights, sounds, and emotions associated with a particular location. In this article, I’ll be sharing a curated list of adjectives that can be used to describe different types of places, from natural wonders to urban landscapes. So whether you’re looking to enhance your travel writing or simply want to add more color to your everyday descriptions, this article will provide you with a valuable resource to expand your vocabulary and bring your writing to life.

Table of Contents

How to Describe Place? – Different Scenarios

When it comes to describing different places, the right adjectives can make all the difference in capturing the atmosphere and painting a vivid picture in the reader’s mind. Here are some tips on how to describe place in different scenarios:

• Describing Natural Wonders:

When you find yourself in the midst of breathtaking natural landscapes, your words should reflect the awe and wonder of the place. Here are some adjectives to help you describe these natural wonders:

• Describing Urban Landscapes:

Urban settings are bustling with activity and have their own unique charm. To accurately describe these vibrant places, consider using adjectives that capture their energy, diversity, and character:

• Describing Historical Sites:

Historical sites carry a rich sense of culture and heritage. To transport your readers back in time, choose adjectives that evoke the significance and grandeur of these places:

• Describing Cozy Spaces:

Sometimes, it’s the small and cozy spaces that hold the most charm. Whether it’s a quaint caf√© or a snug corner of your home, these adjectives can help you evoke the warmth and comfort of these intimate places:

Describing Words for Place in English

When it comes to describing different types of places, using the right adjectives is essential. Adjectives help us capture the unique characteristics and evoke the atmosphere of each place. Whether we are talking about natural wonders, urban landscapes, historical sites, or cozy spaces, the right adjectives can paint a vivid picture in the reader’s mind.

Here are some examples of adjectives that can be used to describe different types of places:

Natural Wonders

• Breathtaking : The Grand Canyon offers breathtaking views of the vast canyon walls.
• Majestic : The Niagara Falls is a majestic sight to behold, with water cascading down in a powerful display.
• Serene : The tranquil lake surrounded by mountains creates a serene atmosphere in the countryside.

Urban Landscapes

• Buzzing : Times Square in New York City is always buzzing with energy and activity.
• Picturesque : The charming streets of Paris are filled with picturesque cafes and boutiques.
• Vibrant : Tokyo’s Shibuya district is known for its vibrant nightlife and bustling streets.

Historical Sites

• Ancient : The Colosseum in Rome is an ancient amphitheater that tells tales of the past.
• Majestic : The Taj Mahal in India is a majestic masterpiece of architecture and love.
• Enchanting : The ancient ruins of Machu Picchu in Peru have an enchanting aura that transports you to a different time.
• Inviting : The cozy fireplace and comfortable furniture make the living room feel inviting.
• Warm : The quaint little coffee shop has a warm and welcoming ambiance.
• Homely : The rustic cabin in the woods has a homely charm that makes you feel at ease.

By using the right adjectives, we can effectively describe and evoke the atmosphere of different types of places. Whether we are describing natural wonders, urban landscapes, historical sites, or cozy spaces, the right choice of adjectives can bring these places to life in the reader’s imagination.

Adjectives for Place

When it comes to describing different types of places, using the right adjectives is essential. Adjectives help bring a place to life in the reader’s imagination and paint a vivid picture of its unique characteristics and atmosphere. In this section, I will provide a list of positive and negative adjectives that can be used to describe various places.

Positive Adjectives for Place

Positive adjectives can capture the beauty, pleasantness, and enchanting qualities of a place. Here are ten example sentences showcasing positive adjectives for place:

• The breathtaking mountain range stretched as far as the eye could see.
• Walking along the serene beach, I could feel the soft sand between my toes.
• The majestic castle stood proudly on top of the hill, overlooking the town.
• The vibrant cityscape dazzled with its neon lights and tall skyscrapers.
• We hiked through the lush forest, surrounded by towering trees and chirping birds.
• The tranquil lake reflected the colors of the sunset, creating a magical scene.
• The small cottage exuded a cozy and welcoming atmosphere, with its warm fireplace and comfortable furniture.
• The fascinating historical site told tales of a bygone era and captivated visitors with its ancient ruins.
• The charming village was filled with colorful houses, quaint cafes, and friendly locals.
• The picturesque countryside displayed rolling green hills and blooming wildflowers.

Negative Adjectives for Place

On the other hand, negative adjectives can highlight the less desirable aspects or characteristics of a place. Here are five example sentences showcasing negative adjectives for place:

• The dilapidated building stood as a stark reminder of neglect and decay.
• The grimy alleyway felt unsafe and gave off a sense of uneasiness.
• The congested city streets were filled with honking cars and bumper-to-bumper traffic.
• The desolate desert stretched for miles, with no signs of life or civilization.
• The menacing storm clouds overhead signaled an approaching thunderstorm.

Remember, using adjectives effectively is not only about choosing the right words, but also about considering their context and the overall tone of your description. Experiment with different combinations of positive and negative adjectives to create a balanced and accurate depiction of the place you are describing.

Synonyms and Antonyms With Example Sentences

Synonyms for place.

When describing different types of places, it’s important to have a variety of adjectives at your disposal. Here are some synonyms for the word “place” that can help you create vivid and engaging descriptions:

Antonyms for Place

On the other hand, when describing a place, you may also want to highlight its less desirable aspects. Here are some antonyms for the word “place” that can help you convey a different tone or mood:

Remember, the choice of synonyms and antonyms will depend on the specific context and tone you want to convey in your description. Experiment with different adjectives to find the ones that best capture the essence of the place you are describing.

Describing places effectively is an essential skill for any writer or communicator. In this article, I have provided a range of adjectives that can be used to capture the essence of different types of places. By choosing the right adjectives, you can create vivid and engaging descriptions that transport your readers to the location you are describing.

The curated list of synonyms and antonyms for the word “place” offers a variety of options to suit your specific needs. Whether you are looking to highlight the positive aspects of a place with adjectives like beautiful, picturesque, serene, vibrant, or tranquil, or you want to convey a more negative or contrasting tone with adjectives like dull, chaotic, dreary, noisy, or barren, there is a word for every occasion.

Remember, the key to effective description is choosing adjectives that fit the context and tone of your writing. So, the next time you find yourself needing to describe a place, refer back to this article and select the adjectives that best capture the atmosphere and character of the location.

Happy writing!

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Writing About Place

Techniques for writing about real places and settings effectively.

Regardless of genre, the use of setting in creative writing is of singular importance. However, there are further complications to the use of real world settings in your writing. Whether an author claims an alternative history, or a parallel world, there are particular expectations from readers about the way in which a setting in a real place is shaped. This following discussion is going to outline a number of recommendations for writers when considering how to best develop real settings.

Meg Mundell in her discussion of literary place-making comments that “every story takes place somewhere ,” 1 and offers the five modes of place-orientated experiential techniques (POETs) as a structure for writers. Mundell’s model is a practice-based framework designed to help with the process of literary place-making. As a set of techniques it is well considered and offers useful advice specifically to those writing in real places.

The five POET techniques are Retrospective, Immersive, Collaborative, Vicarious and Nebulous, and will be unpacked in more detail through the following discussion. I will also discuss some perceived complications, adjacent values, and demonstrations of application. This discussion is designed to offer writing advice, but is not a step by step writing process, rather I invite the reader to take from it what would best benefit your own writing.

POET One: Retrospective technique

The first technique Mundell outlines concerns the harnessing of place-based personal memories. Both recent and older memories can be utilised and can often be a powerful source as our memories are not the visuals alone. Rather memories come with additional sensory and emotional information that can help an author provide a setting with more than just description. The retrospective technique, Mundell states, is drawing on autobiographical memories of place.

It is easy to see the value in starting here. Most authors will draw from their own experiences when developing their narratives anyway. This may not correspond directly to the plot or characters, but rather is often utilised in a myriad of ways throughout the stories. For instance, an author could consider the inclusion of a particular habit that takes place in a certain setting. Such as crouching down to run their fingers through the sand when they visit the beach. Or it could include a preference by a character for a certain season or time of the day. Even without noticing most authors will utilise their own preferences and memories to populate a narrative’s setting.

Memories, as mentioned, are incredibly powerful. It is not just the visualisation but the encoded states that accompany these. For example, when trying to utilise the setting of a windswept coast in the narrative, a writer may remember the coast line where they grew up. This will be encoded with polysensual information such as smells and tastes, the feel of the cold air on their skin, or how the salt stings sunburnt skin, or how cold the water is first thing in the morning. It will also be populated with corresponding emotions, such as pleasure, joy, or even grief and despair. This is a rich place for an author to draw from to help create settings that resonate meaningfully with the reader.

A retrospection does not need to rely upon memory alone. Photographs, video, even collected items from visiting these places can be useful. They can help clarify descriptive details, such as the specific type of blue of the ocean in the morning. They could also provide context for memories, such as exactly where something is located. This can be useful to then prompt further research into that place. They may also work to jog memories that have faded with time.

There is power in harnessing these personal memories. At times it can be easy as a writer to focus on the plot and dialogue, to the degree when a scene becomes merely talking heads in a vacuum. Retrospective techniques invite the author to immerse themselves within a place. To feel and exist in that place. Polysensual inclusions in writing are important, these refer to the use of senses in writing, but more specifically the use of multiple senses (as opposed to just sight, which is just description) when creating place. 3 By drawing not only on sight, but also on the sound of the crashing waves, the smell and taste of salt in the air, the feel of the breeze on the skin, all of this creates a more meaningful sense of place than simply describing a blue ocean.

POET Two: Immersive technique

The immersive technique is the direct encountering or experiencing of a place. This refers to the use of site visits by the author themselves. This has already the obvious limitation of access. A site that is difficult to access, especially in a Covid world, can limit the availability a writer has to the immersive technique. However, this limitation is confined to very specific places. For instance, I may not be able to visit a market in Delhi easily, but I can visit both in-closed and outdoor markets near my home. No, I am not going to be able to capture the resonance, the very flavour, of the real experience, but there are commonalities that I can access. To divide this into two categories I want to examine immersion in specific place and immersion in general place.

Immersion in specific places

Immersion in specific places refers to the ability to actually visit a location. Mundell refers to this as the primary purpose of this technique and highlights the importance of accessing “an immediate sensory and emotional engagement with place.” 4 This is a powerful experience, to be able to stand in a real place and just be in the moment. This can be especially powerful when we consider very unique opportunities, such as visiting the pyramids in Egypt or to go snorkelling at the Great Barrier Reef. Such real experiences would be hard to mimic even through the viewing of film, documentaries and photographs of that place. It is also helpful when visiting such specific places to create your own documents that can be used throughout the writing process using the retrospective technique.

The immersion in a specific place can also be about capturing specific themes, tones and polysensory information that are unique to not just that place, but the specific time you are there. For instance, visiting the highlands of Scotland is very different in summer and winter to the degree that it can feel as if they are completely different places. The contrast of the place to also the writer’s own sense of place is very important. To understand and perceive a different cultural or historical location can be hard to experience without being there, without experiencing the “culture shock” for yourself. These are experiences that make it hard to replicate in any other way.

Immersion in a specific place is also about time. To visit the Cairo souks for the day may give a small snap shot of that place, but to spend a month visiting at different times and with different people would begin to help capture the essence of the uniqueness of these bazaars. Immersion can also offer the access of the collaborative technique, where talking and getting to know the people in a place can help shape an understanding of what it means, its very spirit. Finally, immersion in a specific place can also be a place the writer has lived their life, a place they have seen every season with, a place that is resonate already with their lived experiences. This is an immersion that is hard to replicate for any other writer.

Immersion in general places

However, as mentioned, a writer cannot always access a real place, and not always for a long enough period of time to develop a deep understanding of the essence of place. There are other techniques, such as retrospective if you’ve visited before, or collaborative by accessing other’s experiences, that can be used to off set this. However, this does not diminish the importance of drawing on immersive techniques.

A story is made up of a hundred small places. The larger setting may be Cairo, but there will be cafes, streets, museums, parks, waterways, farms, lounges, kitchens, bedrooms, and more. A hundred little places that all have their own construction and add to a larger real sense of place. An immersion in general places can help support the construction of these. What are the smells and sounds of a café? How does it feel to stand in a park in the middle of the city in the middle of Autumn? What ways do people set up their bedrooms and what does this say about them? An author can engage with real places in an immersive manner wherever they are.

What then is the act of the immersive technique? The act of immersion is captured well in its definition. It is first to have an “absorbing involvement.” 5 What does this mean? It means not being on your phone, not thinking about what to have for dinner. It means actively working through a set of observations: what do I see? what makes this place unique/special/important? what do I feel/smell/taste? what are the levels of sound present; obvious, ambient, distinct, uncommon? The writer needs to be absorbed in the place and focus only on the recording of the place. Later visits it can be useful to then picture how your character/s interact with the place, but for the first visits it needs to be an absorbed involvement.

Secondly, it is “based on extensive exposure to surroundings…that are native or pertinent to the object of study.” 6 This is more referring to being immersed in learning, but this can apply to the writer. We are making an extensive study of place. This refers to the need to return multiple times to the same place to learn its different moods. It is helpful also during these processes of immersion to keep autoethnographic (auto – personal experience, ethno – understand experience, graphy – to analyse) 7 notes of your own thoughts and experiences of the place and reflect upon your interpretation of place based on your own personal history. For instance the emotional tenor of your writing about a particular park could be impacted by the fact you were dumped here by your greatest love. This does not diminish the value of your observations, but it needs to be reflected upon that this could influence your construction of the sensory elements of that place. For instance, when describing the park’s dreary, miserable environment, this is perhaps not the place to set the most uplifting part of your story.

POET Three: Collaborative technique

The collaborative technique addresses some of the issues raised in the immersive technique as it utilises sources and people that already exist. Mundell explains this technique as “tapping into an accumulated stock of place-based cultural knowledge.” 8 This can include the access of intertextual sources such as written or visual artefacts or interpersonal sources such as interviews, conversations and so on. There are three great source accesses that all writers have for collaborative use, and that is the internet, already published stories, and the people in their lives.

This technique is also important as it is the first opportunity for the writer to move beyond their own perspective. Retrospective and immersive privilege the author’s own experiences and context, which is a valuable source for all writers, but is limited when considering the diversity of perspectives and experiences that a story should include. Place is a multifaceted thing, it belongs to everyone and it is not experienced in a singular, linear manner. Collaborative as a technique is important in addressing this concern.

There are of course limitations to this approach. Firstly, a writer needs to learn to operate outside their own echo chamber. A story where everyone has the same background, same point of view, and same experiences is not particularly interesting. A writer needs to read outside of their preferred genres, they need to watch different things, and they need to talk to different people. This can often be framed through the importance of research. Most authors conduct research for their writing. Not necessarily to the degree of being academic research, but they explore sources for historical information, cultural perspective, to find other experiences they have not had. A beginning place is often film and novels as these help show social uses of shared spaces that a writer can draw from. This is also the area where there is an opportunity to apply these techniques to a secondary world story. For instance, it is unlikely that a writer will have an opportunity to experience outer-space for themselves, but through accessing stories, film, even lived experiences of real astronauts, a writer can access shared understandings of this place.

Collaborative techniques also open opportunities to engage not just with place, but with the people that populate them. Ask five of your friends what the beach means to them and they are likely to give you five nuanced experiences. It is also an opportunity to make use of artefacts in the same way that is done retrospectively; that a writer can make use of artefacts such as maps, webpages and photos, to explore a place. To collaborate is to experience place through more than a writer’s own eyes, and this can only enrich a narrative.

POET Four: Vicarious technique

The vicarious technique can be understood through a number of points, but at its heart it is the act of empathising with place. The writer through their vicarious emplacement of themselves into a place, can “mobilise perspective-taking and narrative empathy to help emplace characters within the story.” 9 This is the act of feeling about a place by imaginatively inhabiting the place through the body of the character. We, the writers, feel how this place feels through their own context and experiences. This is where instead of the park being where you were unceremoniously dumped, it is the park the character remembers swinging on their father’s arm in. The place, its setting and environment, may not change, but the resonance of the emotion can change.

This technique is about considering how the place can be used to position the reader’s experience. Mundell refers to this as “how stories resonate for readers, as the body and emotions become shared sites of understanding.” 10 A character that inhabits a place that can be experienced sensuously rather than simple described, works to provide the reader with access to a real experience in that place in that moment in the context of the story. This is more likely to activate the reader’s own empathy and engage them in the story. This technique is largely a part of the act of narrative writing, however, Mundell is right in calling it out directly. A writer needs to actively consider not only the character and the plot in this moment, but the setting and place. How can the setting be used to help evoke the tone? For instance, if the character is scared, this means different things if they are standing in a darkened dead end alley, or are in their kitchen at home, or are on a train during rush hour. The place can inform the plot, but it will also influence the theme and tone of the scene.

POET Five: Nebulous technique

The final technique is nebulous, both in name and approach. This is the technique that refers to, as Mundell states, “such slippery phenomena as dream content, ‘pure imagination,’ subconscious formulations, intuition, the sublime, the uncanny, hauntings, and genius loci.” 11

Many writers have said they drew content for their work from dreams, and indeed the surreal mashups of our subconscious can yield a fascinating sense of place. This technique can also refer to the combining of places that a writer has experienced or researched, or the combining of other’s experiences into a single place. It can also be the changes made to an experienced place to evoke fantastic inclusions in place, such as the appearance of a set of stairs in the middle of a forest that lead…somewhere. The nebulous technique allows the writer to challenge the limitations of the real into what they need for their narrative. This is the opportunity to draw on retrospective experiences and combine them with immersive techniques and research from collaborative techniques to make a place feel new, unique and that it belongs to your narrative.

This is often the purview of speculative fiction, but it can also be used in realism, and is very effective in giving a sense of place the thematic elements needed for that scene. This is also an area important for consideration for genre writers (fantasy, romance, crime, etc.) where a reader has a particular set of expectations around tonal and thematic elements that need to be present in the setting. Although a writer can play with these archetypes and expectations, it is important to be clear in the promises made to readers about setting. For instance, a gritty crime novel means readers expect late night police stations/detective offices, nightlife areas, run down districts, rain or dark cold nights (note the repetition of night). If a writer is not planning on delivering this they need to be very clear at the start, for instance the TV show Death in Paradise already uses the title to call out this setting change. But even in this idealised, azure ocean, setting most of the above settings are still present. The nebulous technique allows for creative freedoms, but it is still embedded within the creation of place and draws from the writer’s experiences of the other four techniques.

Writing place is of central importance to all writers. It is more than a backdrop setting, a cardboard cut-out to frame the characters, it needs to be embedded deeply in a polysensual manner that helps resonate with the reader experience. Meg Mundell offers the POET format for approaching and considering the writing of distinct places. A writer who utilises retrospective, immersive, collaborative, vicarious, and nebulous techniques when developing the settings of their narratives will hopefully find a construction of a rich, meaningful sense of place emerging.

Writers and readers, what do you think about writing about real places?

Works Cited

• Mundell, Meg. (2018). Crafting ‘literary sense of place’: The generative work of literary place-making. The Journal of the Association for the Study of Australian Literature , 18(1), 1-17. https://openjournals.library.sydney.edu.au/index.php/JASAL/article/view/12375 ↩
• All images are sourced from Creative Commons ↩
• Westphal, Bertrand. (2011). Geocriticism: Real and Fictional Spaces . New York: Palgrave Macmillan. https://doi.org/10.1057/9780230119161 ↩
• Mundell, pp.9-10 ↩
• “Immersion.” (n.d.). Merriam-Webster . https://www.merriam-webster.com/dictionary/immersion ↩
• Ellis, C., Adams, T.E., & Bochner, A.P. (2011). Autoethnography: An overview. Historical Social Research, 36 (4), 273-290 ↩
• Mundell, p.10 ↩

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68 Comments

Much as I appreciate a well drawn setting, I feel it needs to resonate with the characters… otherwise it’s like sitting in the theatre after the actors have left.

Place in fiction often lingers more vividly after characters and the intricacies of plot have faded. Thomas Hardy’s The Woodlanders is my favourite novel for the setting more than anything – the isolated hamlet of Little Hintock. The novel’s central characters reflect the beauty and harshness of the land: the unsophisticated Giles Winterbourne is described as ‘Autumn’s very brother’ yet it is the same unsympathetic forces of nature which bring about his untimely death. Hardy’s Wessex is often idealised but it was, as Hardy showed us, often a brutal place in which to live and work – the young Jude Fawley has a premonition too early in life of rural England’s exhausted sterility. The pastoral world of Hardy’s novels often drained the life out of people just as the harsh deprivations of London did for Dickens’ characters.

I was thinking today of the possession of place which is so deeply ingrained in the British psyche: to possess bricks and mortar, to possess land, and yet English literature’s greatest literary achievements often depict characters who have been excluded from this process for one reason or another. Literature often provides an alternative world where many people can reclaim a sense of place and belonging denied to them if they haven’t subscribed to the mortgaged existence. The cost of not subscribing can often be calamitous and Hardy’s greatest achievement for me in Jude the Obscure was showing so powerfully Jude’s rootless existence and the cost to his ambitions for not having a fixed abode.

There is nothing redeeming about the places described in Jude and Hardy shows how warmth and shelter in this possessive-obsessive land is often found in a warm pub or in a train compartment. (And this cruel government is even make these small refuges inaccessible to swathes of the population.)

I would venture to say that it is place, more than character or plot, which tell us so uncomfortable home truths about the world we live in.

I thought place was a really interesting extra dimension in novels until I read Five Red Herrings by Dorothy L. Sayers when I was on holiday in Galloway. Sadly the book was as interesting as a railway timetable but I did learn just how many trains used to run across vast areas of the Southern Uplands now completely devoid of public transport.

I tend to not write about real places because I’m way too lazy about trying to get things right and accurate.

Yes: our memories are hearing; taste; touch; smell; vestibular; interioception and proprioception.

Moving through a specific place at a specific time as a specific person – and then doing this with the focus character in the focused plot and their point of view/perspective.

I tend to use Collaborative Placemaking as an author.

For me, it is an issue of scale. I obviously use real places for the large scale (planet, country, state, etc) but as the scale grows smaller it becomes more fictitious.

For example: United States (real), Tennessee (Real), Nashville (Real), Lake Charles St. (fake), Metro Police Station 16 (fake), office of Detective Mark Able (fake), Middle left drawer of Able’s desk (fake), a photograph of his wife Dorothy standing in front of the Hermitage (fake picture of a real place?)

Using real places in fiction can be useful. A terrific aid to the writer in visualising the action and maintaining consistency.

Great writeup. Just remember writers, you are describing a fictional version of that place. You can’t expect the reader to know everything, so make sure to describe it as if it were totally made up.

But then you have to get all the little details right for all the people who live there/. 😛

I prefer fictional area in real place. Like fictional small town in real state.

Thing is, you really don’t need to get all the little details right.

Sure, the big details are important – like knowing whether the village is on the east or west coast so your characters can either see a sunrise or a sunset.

But nobody really cares if you get the distance between two buildings slightly wrong, or if the snicket down the side of the pub doesn’t actually lead to a small stream at the edge of a wood, but to a carpark with a load of bottle reycling bins.

There’s a Jackie Chan movie set in Melbourne (sorry, I can’t remember the name). It’s pretty obvious to locals that when Jackie goes up an escalator on one side of the city he shouldn’t pop up on a street at the other side of the city, but it didn’t spoil my enjoyment of the movie at all.

I like how in one scene in Umberto Eco’s Il pendolo di Foucauilt (I’m not sure if that is the correct title as I am not native English/Italian speaker) there is a dialog exchange between two monks who are walking on a real-life-based street, and the length of the dialog is exactly same as you would actually have realistically if you were to walk there. Though I dont think that amount of dedication is necesarry.

The English title of that book is indeed FOCAULT’S PENDULUM.

[some of us think Michel but this is a much older Foucault – like Middle Ages ancient/medieval].

Very veridical, isn’t it?

Have admired Eco since I was a little girl and NAME OF THE ROSE became popular.

To me, it comes down to what kinds of creative liberties you plan to take in your setting. By that I mean, don’t put the onus on me to know when you are writing fiction and when you are pulling from reality. Don’t use real street names if you plan to make up street names too, don’t use real neighborhoods and also invent new ones, etc.

Be aware, people will try to catch you for pulling from reality without doing your due diligence, e.g. getting simple details about the town wrong, like driving past landmarks in an impossible order (Sleepless in Seattle).

I have used real cities for modern fiction. I set mine in Toronto because I can reference a realistic space in my mind as I write. However I have always liked the tongue in cheek of GTA where they are clearly set in Miami, or New York, etc.

Place makes so much sense as a writer.

It’s the double-edged sword of being aware of who we are and where we are: To be able to know what is, has been and will be disassociates us from our present reality: Our connection between what we are and where we are. But it’s a powerful tool to be able to “reality-generate” and inform on what our future might be and therefore change reality to reflect ourselves?

hmm, that would make a good poem…

The Age of Misrule series by Mark Chadbourne made use of a lot of real places, both well known and obscure – everywhere from Stonehenge to the Saint Lawrence Church and the Hellfire Caves of High Wycombe. It added a lot of interesting flavour to the stories.

If you’re going to use real places in your writing, get them right – use places you can either visit or learn about in extensive detail.

I’ll use real cities or make up my own depending on what serves the particular piece I’m writing.

My Sci fi project I’m currently working on is a combination of both- assuming much of northern California has urban sprawled it’s way into one metro area. The last thing I wrote took place in a fictional small town. In general I’ll use real places by default unless I have some narrative reason to make something up just based on the principle that it’s always best to write what you know.

I find writing places to be extremely difficult, even when I’ve been there or studied it on Street View, so I can only imagine trying to invent a new city from scratch.

It’s just hard to be consistent with scale, detail, and functionality of the location. The final Hunger Games book is (IMHO) a great example of failure in that regard, and it feels like most locations only consists of about five blocks and maybe twenty people total.

Using a real place can also be tiring if it is over explained. I, a Pittsburgh resident, once read a book set in Pittsburgh and every paragraph seemed like going redicilously through the Google Maps streets and landmarks. But if you make up a city you also run the risk of overbuilding the world.

In my own short fiction I have a fascination with geography and location, but I try to take an approach of “do research, get facts straight, then make implications from there.” I wrote a bit about a little town I’ve never been to and I made sure to research demographics, population, etc. to place my character where he would have been and make sure my details lined up with reality. Then, from that information, I built the culture and atmosphere and metaphor of the town outwards from the cold hard facts.

Using an actual place just makes things harder. You have to do more research and people will nitpick the details.

Me, personally, I write about places that I’ve actually been to but don’t know a whole lot about. I have been to the Bay Area but never did some in-depth exploring of the area. I did visit a lot of the little cities in San Mateo County and so most of my writing is based on the places that I have actually been to and know a little about.

I didn’t do a lot of Exploring of S.F. but did go to to Pier 39 and Fisherman’s Wharf quiet a few times. I also did walk Market Street a few times and went to the Westfield mall. So majority of my writing revolves around those areas that I’ve been to and sites that I had seen before. It makes writing WAY more easier when you’ve actually been to a place and heard the sounds and seen the sites in person.

Knowing where something is is not the same thing as being a resident.

I personally prefer generic/imaginary cities unless it’s super iconic, eg Paris, London, Munich.

Yes, me too. Or rather, if someone sets it Smalltown, Ruralia I really don’t need a vast amount of details about the actual Smalltown, Ruralia. It can end up feeling very parochial and even exclusionary if the tone isn’t right.

So I tend to avoid names and go for things like “main road”, “high street”, “upmarket suburb”, “central park”, “town square” when describing geographic features within a real town. But usually mine are invented, even if they’re based on something.

I’ll take Smalltown, Ruralia. I’ll rename it Littletown. I then have the freedom to add and subtract what features I like.

Most of my projects are set in different places of the world and so I did a lot of research with Google Maps/Earth, websites about those specific cities (not always big ones like New York or Tokyo) and there’s some I’ve been to too but it’s more for geographic purposes than to do a complete showoff of the culture and things like that (and my projects are also mostly set in the future so there is place for creation even there).

This is an interesting read! It would be fun to put some more of these ideas in the context of specific genres and see where there’s overlap or divergence in the usage of techniques. I loved where this was touched on in the nebulous section 😊

This is an amazing article that I will be utilizing in future writing projects. It is very well written and is very helpful for a writer. I didn’t even know there was a technique for writing locations, much less multiple.

I use almost exclusively fictional settings. Many of my stories take place in a city, but the city is either fictional or just vague. I don’t live in your standard big city, so I’m not all that familiar with any of them, so I prefer to invent fictional cities. I go the DC route where Metropolis and Gotham are both fictional cities but are based on New York, for example.

A lot of fictional things are based on/inspired by “real” things and aren’t expected to be 100% accurate. So writers, live a little bit and don’t barrier yourselves. 🙂

A while ago I had the idea of setting a story in my old high school, but for creative reasons/limits I decided to set it in the same world as my epic fantasy trilogy.

I read a book recently that took place in Washington. The author mentioned people heading from Portland to Washington and stopping in Eugene on the way. You can’t stop in Eugene on your way to Washington if you start in Portland. That one error made me suspicious of other geography and historical points from there on out.

My dad is writing a book right now and all the places are real. The only problem he has is finishing the story, like will the places still exist when he finish it.

The best advice given to me is to write what I know.

Very interesting article! I learned a lot about world building.

Authors have been writing about real places as long as there has been writing!

Real places help bring some realism to stories that I personally enjoy, but that’s just my personal bias.

I like books that set up place well, it allows me to enjoy the action that then happens there. I recall one book “Inside Out” that used place in a unique way that surprised me and made the book memorable. I thought it was occurring in an enclosed place on earth, but it was totally satisfying when it was revealed where we actually were. 🙂 Thank you for your essay, it is a really good resource. Place is almost another character in the story I guess, in as much as you need to keep track of where it is at and how it interacts with the action.

I generally go the demi-real method. My story does take place in California, but fake cities within it.

I would love to read a book set in my city even if the story was insane and made us all out to be evil villains. It would be fun to read!

It’s fun to imagine things happening in our real world. Most people have the ability to suspend their disbelief and understand that it’s just a story.

I’m rereading Philip Roth’s The Anatomy Lesson now where place has a center in the story. Much of the book is about the main character’s past at The University of Chicago. At about the midway point of the novel, he returns there and attempts to regain his youthful vitality.

Character and setting tend to blend together for me. The lines between the two are kind of blurred since an individual and his/her environment inform and mirror each other. Thank you for these helpful tips on how best to improve the immersive experience of one’s writing!

A good example of writing about place is “A Discovery of Witches” by Deborah Harkness is set partially in the Bodlian, University of Oxford. Just an example off the top of my head.

I think places like Oxford have sort of entered the public domain of places that are acceptable to set a story. Its instantly recognisable and its been around for so long and has been written about countless times before by others. Another story set in Oxford (at least for a part of a story) is Phillip Pullman’s His Dark Materials for example and I can assure you that the Oxford there does not match the Oxford IRL.

Yes, that is another one, although I would agree the “Oxford” in Pullman’s book is more some parallel universe type of Oxford.

I use real places down to the level of picking out hedges and storm drains!

I get pretty obsessed with making my settings match real world places. I wanted a water tower in one of my novels set in upstate New York, so I literally went searching for a neighborhood where one exists just like in my story and based it there. Google Earth has been a blessing.

I love that!

So glad I’m not the only one getting creepy with Google Earth up in here.

I think Patrick White’s town ‘Sarsparilla’ is a great name for a place.

I love learning new techniques for effective creative writing. These five techniques can unlock a whole new type of relationship between writer to reader. I resonate with this article because I always thought that any type of literature grants the readers an opportunity to travel around the world, learn different cultures, and maybe even discover themselves by the end of the story. And that is all due to effective writing techniques.

While it is true that everything happens somewhere, it is not true that every narrative has to include the setting. Setting can be expressed through feelings, and never mentioned at all.

Enjoyed this article, thoroughly!

I think it is interesting that you say that dreams can be a way of adding an element of surreality to the setting.

This gave me a lot to think about. Wondering if anyone has any thoughts on how to translate this into non-fiction writing? What aspects can we keep/what differences should we be mindful of?

Writing about a setting or place, or about a person (etc) in a place is much more easily (and believably) done if writing about what one knows. Unless the novel is fantasy, it’s generally not easy to imagine a place one has never been and put that in their writing authoritatively.

One interesting counterpoint to this framework could also be to think about the methodology of writing place—once one is enmeshed in the nitty-gritty of pen-to-paper or hands-to-keyboard perception seems to shift a bit. I find it helpful to consider how place can be induced from the pen as well as being approached in a more deductive way based on prior decision-making.

As someone interested in stories about fantastical settings, I haven’t previously tried the technique of visiting places to write about them, but this article has provided me with a new perspective on this technique. I am intrigued by Mundell’s idea of spending time in a place to capture the “feeling” of being in that place, as opposed to only focusing on the objective aspects of it, and how this can be applied to writing about similar settings, real or imagined.

I think there is such a risk writing about real place settings. If the representation doesn’t align with the readers view/expectations you can lose them before they are hooked on the central story arc.

Michael Crummey also gave an excellent lecture about this that was turned into a book called “Most of What Follows is True: Places Imagined and Real” that discusses his experiences and ideas about setting fiction in place.

Thanks for sharing that Emily – I will check it out 🙂

Very interesting topic ! With experience the reader may spot when a scene is juxtaposition of idea bricks (just a decorum) or a coherent piece. It always fascinated me how a writer can put anchors in our head to see a place but only to make us feel something completely different than just a background. It is even perfect at some point when you forget about it and just feel emotions.

Quite a helpful technique for writing a place!

In a way I don’t think the approach is too different to writing fiction in a real place, you would disregard any of the advice that indicates an imagining but the same principles should be the same. One thing that I am engaged in currently is a geocritical review of a real place, and this means not only am I going there and capturing lived experience, I am also engaging with what is already written about that place. For real NF this would be looking at historical documents, local websites and tourist sites, local papers etc. that help capture a sense of how the place has changed and how it is used. I hope that helps a little 🙂

Really interesting and thoughtful piece of writing here. Thank you for contributing. Got me thinking.

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Adjectives to Describe a Place

By Med Kharbach, PhD | Last Update: May 10, 2024

Continuing with our series of posts on adjectives, today we venture into the art of describing places. As I’ve argued elsewhere, adjectives play a crucial role not just in painting vivid pictures in our minds, but in honing our narrative skills, enhancing our ‘conceptual understanding’ (Davies et al., 2022, p. 2), and deepening our grasp of language. They are the spices that season our stories, the colors that fill our canvases, enabling us to share not just the bare facts, but the mood, atmosphere, and soul of a scene.

My purpose behind this post, and indeed the whole series, is to provide students, teachers, and everyone in between with the tools to express themselves more fully and richly. Whether you’re drafting a descriptive essay, planning a lesson that encourages creative writing, or simply seeking to capture the essence of your travels in a personal journal, mastering the use of adjectives to depict settings is fundamental.

So, let’s embark on this linguistic journey together, exploring the myriad ways in which adjectives can enrich our descriptions of places, enhancing not just our writing but our awareness and appreciation of the diverse and beautiful world around us.

Also check out:

• Adjectives to Describe a Person Physically
• 50 Adjectives to Describe a House
• Words and Adjectives to Describe a Person
• 80 Adjectives to Describe Feelings
• 60 Practical Adjectives to Describe Clothes
• 20 Engaging Activities to Teach Kids About Adjectives

Here is a curated collection of adjectives that can help you describe a variety of places, from the serene to the bustling, the pristine to the ancient:

• Bustling – Full of energetic and noisy activity.
• Serene – Calm, peaceful, and untroubled.
• Dilapidated – In a state of disrepair or ruin as a result of age or neglect.
• Pristine – Remaining in a pure state; unspoiled.
• Quaint – Attractively unusual or old-fashioned.
• Rugged – Having a rough, uneven surface.
• Vibrant – Full of energy and life.
• Majestic – Having or showing impressive beauty or scale.
• Desolate – Deserted of people and in a state of bleak and dismal emptiness.
• Lush – Growing luxuriantly or abundantly.
• Gleaming – Shining brightly, especially with reflected light.
• Mystical – Having a spiritual significance that goes beyond human understanding.
• Opulent – Ostentatiously rich and luxurious or lavish.
• Tranquil – Free from disturbance; calm.
• Windswept – Exposed to strong winds.
• Idyllic – Like an idyll; extremely happy, peaceful, or picturesque.
• Futuristic – Very modern or ahead of its time.
• Ancient – Belonging to the very distant past and no longer in existence.
• Secluded – Not seen or visited by many people; sheltered and private.
• Dazzling – Extremely bright, especially so as to blind the eyes temporarily.

• Atmospheric – Giving a distinctive mood or quality, often evocative or special.
• Barren – Lacking in vegetation or activity, giving an impression of desolation.
• Cobblestoned – Paved with cobblestones, suggesting an old or quaint charm.
• Decrepit – Worn out or ruined because of age or neglect.
• Enchanted – Filled with delight or wonder, often magical or captivating.
• Foggy – Covered or enveloped in fog, giving a sense of mystery or obscurity.
• Historic – Known for its importance in history; ancient or having great value in history.
• Inviting – Appealing and attractive, making one want to visit or stay.
• Jubilant – Conveying a feeling of great joy and celebration.
• Knotted – Full of or covered with knots, often used to describe complex or difficult landscapes.
• Labyrinthine – Complicated and confusing, like a labyrinth.
• Misty – Covered with or characterized by mist, giving a dreamy or ethereal quality.
• Nocturnal – Active or alive at night; night-time.
• Overgrown – Covered with plants that have grown in an uncontrolled way.
• Picturesque – Visually attractive, especially in a quaint or charming way.
• Quiescent – In a state or period of inactivity or dormancy.
• Rustic – Characteristic of rural life; simple or plain.
• Spectral – Ghostly or phantomlike.
• Tumultuous – Making a loud, confused noise; uproarious or disorderly.
• Unspoiled – Not spoiled or ruined; retaining natural beauty or originality.

• Seething – Teeming with people or activity to a degree that creates a sense of barely controlled chaos.
• Tranquil – Peaceful, calm, and undisturbed, often used to describe serene landscapes or settings.
• Cramped – Offering very little room; constrained in size or space.
• Dim – Not brightly lit; having a lack of light.
• Eerie – Strange and frightening; creating an atmosphere of mystery or unease.
• Flourishing – Growing or developing in a healthy or vigorous way.
• Grim – Forbidding or uninviting; lacking in warmth or cheer.
• Harmonious – Forming a pleasing or consistent whole; elements that blend well together.
• Immaculate – Perfectly clean, neat, or tidy; free from flaws or mistakes.
• Jagged – With rough, sharp points protruding.
• Kindred – Having a similar origin, nature, or character, often creating a sense of belonging or familiarity.
• Luminous – Bright or shining, especially in the dark.
• Moody – Giving an impression of melancholy or mystery.
• Nostalgic – Exhibiting feelings of nostalgia; a wistful desire to return to a former time in one’s life.
• Parched – Extremely dry, especially due to hot weather or lack of rainfall.
• Resplendent – Attractive and impressive through being richly colorful or sumptuous.
• Stark – Severe or bare in appearance or outline; strikingly simple or plain.
• Thronged – Filled with crowds of people or animals.

Final thoughts

As we wrap up this post on adjectives to describe a place, I hope you’ve found a treasure trove of words that inspire and resonate with you. This exploration is more than just about expanding our vocabulary; it’s about enhancing our ability to share the essence of the places that touch our lives, whether they’re familiar haunts or distant locales we dream of visiting.

The journey through language is infinite, and the adjectives we use to paint our world play a pivotal role in how vividly we bring our stories to life. Whether you’re a student aiming to craft more compelling narratives, a teacher seeking to inspire a love of descriptive writing, or simply someone who delights in the beauty of well-chosen words, the power of adjectives to describe a place is immense. I hope this post—and indeed, this entire series—encourages you to look at the world around you with fresh eyes and a curious mind.

• Davies, C., Syrett, K., Taylor, L., Wilkes, S., & Zuniga‐Montanez, C. (2022). Supporting adjective learning across the curriculum by 5–7 year‐olds: Insights from psychological research.  Language and Linguistic Compass ,  16 (11).   https://doi.org/10.1111/lnc3.12476
• Children’s experience, understanding, and use of adjectives across the socioeconomic spectrum. University of Leeds .

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Meet Med Kharbach, PhD

Dr. Med Kharbach is an influential voice in the global educational technology landscape, with an extensive background in educational studies and a decade-long experience as a K-12 teacher. Holding a Ph.D. from Mount Saint Vincent University in Halifax, Canada, he brings a unique perspective to the educational world by integrating his profound academic knowledge with his hands-on teaching experience. Dr. Kharbach's academic pursuits encompass curriculum studies, discourse analysis, language learning/teaching, language and identity, emerging literacies, educational technology, and research methodologies. His work has been presented at numerous national and international conferences and published in various esteemed academic journals.

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How to describe an imaginary place or strange land

by Janet | Jul 21, 2011 | Teaching Homeschool Writing

Summer is a season of travel, a time of sandy beaches, hypnotic sunshine, stamped tickets, and the excited laughter of children visiting out-of-the-ordinary places.

Summer vacations—and the summer months—fill our minds with those moments of wonder and imagination so natural to childhood and keep us connected to our own children.

But sometimes the household budget doesn’t stretch quite far enough for exotic adventures.

What to do?

Here’s how!

Start with a Map

• Gather your family around the kitchen table with paper, pencils, pens, and an atlas. Better yet, pull out a road map of your state. As these maps are more detailed for the traveler, interstate road maps usually have the richer place names.
• Study some maps, reading place names aloud. Listen for those syllables and sounds that tickle and tempt your ear, hinting at the exotic. Where I live, nearby towns, rivers, and ancient mountain ranges honor the first Americans who dwelled here. Names like “Uwharrie,” “Oconeechi,” “Saponi,” “Lumbee,” “Saxapahaw,” and “Eno” dot the landscape and tease my heart and mind.
• Make a list of place names you like.
• Begin to imagine an island or a country or a planet where you’d like to visit.

Set Your Imagination Loose

It’s time to describe an imaginary place! Begin to paint this strange land with colorful, descriptive words and phrases.

What color is the sky? Are there cliffs, rivers, canyons, or mountains? Name the landforms.

Are there trees or flowering plants? What do they look like? Describe and name the flowers.

Place yourself there. What does the ground feel like under your feet? Stony? Sandy? Spongy?

What kind of person —or wonderful being—could you allow yourself to be there?

Create Your World

As ideas shape themselves around your kitchen table, have your children create colorful maps and illustrated “travel guides” of their visionary worlds.

Don’t forget rich descriptions , helping your kids write and edit for an imaginary audience of would-be adventurers or vacationers. This is the magic of writing! In the creative power of words, our children are free to journey through the realms of their own sacred and unique imaginations.

As adults, what a wonderful gift we can give our kids: a love of adventure enhanced with the tools of creative writing .

Enjoy your magical travels this summer!

For over two decades, Janet Wagner taught elementary and middle school in a variety of settings. She also had the honor of helping homeschool her two nieces. Janet and her husband Dean live on the family farm in the Piedmont region of North Carolina. She enjoys a flexible life of homemaking, volunteering, reading, writing, tutoring students, and training dogs. You can find her at Creative Writing Ideas and Activities .

All photos from Flickr , courtesy of Creative Commons .

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