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Examples of creative real estate listing descriptions — and how to write them 

A creative listing description can give potential buyers and tenants a powerful, positive first impression.

In this article:

First impressions are everything when it comes to selling a property. The first encounter with potential buyers usually happens through your online listing, so it only makes sense that the quality and creativity of your real estate listing — and the listing photos — matter. 

Real estate listing descriptions are a written narrative that provides details and information about a property. They’re used for both rental and sale properties and serves as a marketing tool to attract potential tenants or buyers or by highlighting the property's key features, amenities, location, and other relevant information.

Why do listing descriptions matter?

A good, effective real estate listing description can attract the right buyers and generate interest in the property. It only makes sense that a poor description can do the opposite, scaring away potential buyers and leaving the property sitting on the market with no offers . 

Here’s why something as seemingly simple as a real estate description matters:

• Attract the right buyers: An effective real estate description should attract people to your property. When a buyer is searching for a new home, they often have a list of must-haves and deal-breakers. The description should highlight the features that meet the buyer’s needs. Keyword-rich descriptions not only highlight the property’s potential but also attract the buyer’s attention. It’s typically the listing agent’s job to write an effective real estate description to increase visibility and attract the right buyers.
• Set accurate expectations: The property description should align with the reality of your property. It’s essential to describe your property’s features honestly and accurately, as the buyer will notice any discrepancies when they visit the property. A good description sets expectations in the buyer’s mind, making them more likely to appreciate and consider the property for a potential purchase. Therefore it’s important to provide realistic and accurate information about the property in the description.
• Highlight unique features: An effective real estate description should outline the unique features of the property that sets it apart from other properties on the market. It may be the location, architecture, landscaping, or other features that make the property stand out. It’s important to describe these features and highlight them, as they could be the selling point for a potential buyer.
• Generate interest: A good real estate description should enable potential buyers to visualize themselves living in the property. An effective description should be written in a way that evokes emotions and creates a sense of desire in the buyer’s mind. The right words can engage the reader and can instill a sense of excitement or appreciation for the property, generating interest.
• Save time: A well-written description can save time and reduce the need for multiple showings. A description that accurately represents the property can prevent time-wasting and eliminate unnecessary viewing requests from buyers who aren’t interested in the property. These descriptions can save time and increase the efficiency of the property search process for both the buyer and the seller.

What are some examples of creative listings?

So, what does a standout listing look like? Here are some real estate listing description examples that are memorable for all the right reasons:

Charm meets convenience in this delightful single-family abode! Step into a world of warmth and comfort as you enter the open-concept living space, perfect for creating lasting memories with loved ones. Embrace the tranquility of the landscaped backyard oasis, your own private retreat after a long day. With top-notch schools and amenities just a stone’s throw away, this home offers the ideal blend of suburban living and urban accessibility. Your dream home awaits!

Welcome to your urban sanctuary! This stylish townhouse boasts sleek modern finishes and an abundance of natural light that dances through the generous windows. Take pleasure in the gourmet kitchen, a haven for aspiring chefs, and savor your morning coffee on the private rooftop terrace, where city views unfold before your eyes. Nestled in a vibrant community, this townhouse is your gateway to a dynamic lifestyle, complete with trendy eateries, parks, and cultural hotspots.

Experience city living at its finest in this chic condo retreat. Immerse yourself in the luxurious ambiance of the building’s amenities, from the rooftop infinity pool to the state-of-the-art fitness center. Inside your own sanctuary, revel in the seamless blend of modern design and comfort. With bustling city life just outside your doorstep, this condo offers an unparalleled cosmopolitan lifestyle that’s perfect for professionals and urban enthusiasts alike.

How do you write creative listings?

Writing real estate listings can seem challenging, especially if you haven’t flexed your writing chops in a long time. Having a creative listing description in real estate is especially important for FSBO properties, because you won’t have the professional help of an agent when selling a house on your own .

Luckily, by keeping some simple strategies in mind, you can write listings like a pro — maybe even better ones than the examples detailed above. Here’s how:

Know your audience

It’s important to understand the potential homebuyer you are targeting when writing your listing descriptions. Who are they? What are they looking for in a home? What features are important to them? Once you have answers to these questions, you can tailor your descriptions to match their needs and interests. This will create a connection with your audience and encourage them to visualize themselves in the home.

Highlight unique features

Every home has its unique selling points, and it’s essential to highlight these in your listing descriptions. The most obvious features like the number of bedrooms and half bathrooms should not be overlooked but take it a step further. Does the property have a swimming pool, a big backyard, or a garage? Does it have an open floor plan with plenty of natural light? Was it designed by a renowned architect? 

You can also highlight the home’s history, if for example it was designed by a renowned architect or a designated historic home .

Mentioning these unique features sets the property apart from others in the same price range.

Use descriptive language

Using descriptive words helps to create an emotional connection between the reader and the home you’re promoting. Using words like "cozy," "spacious," "inviting," and "stunning" help to paint a picture in the buyer’s mind. Instead of plainly stating that a property has a "large living room," try using more descriptive words like "expansive" or "airy." This will create a more vivid and attractive image in the buyer’s mind.

Be honest but positive

While it’s essential to point out the home’s selling points, being honest is also crucial. Avoid over-exaggerating or making false promises. If any part of the property is outdated or needs renovation, mention it, but always put a positive spin on it. For example, if the kitchen needs a little updating, mention how it’s a perfect opportunity for the buyer to “add their personal touch and style.”

Make it skimmable

The average person isn’t interested in reading long, heavy blocks of text. Using long paragraphs in your listing description can be overwhelming and even unappealing to potential buyers. Make your listing descriptions attractive and easy to read by using shorter paragraphs and bullet points. This way, readers can easily scan through the information and take note of the most critical aspects of the home.

Ask for help when you need it

Writing creative real estate listing descriptions is a unique skill. Luckily, there are professionals on your side who can showcase your property in its best light with high-quality descriptions that attract the attention of buyers — for all the right reasons. Don’t hesitate to leave this task to your real estate agent or a verbose professional writer when the time comes to list your home for sale. Pride aside, a well-written listing could be exactly what piques the interest of an eager buyer.  

When you list your home with Orchard, we’ll craft the listing descriptions, professionally photograph your home, and create a 3D tour.  

Here are some tips for writing creative real estate descriptions.

Q: How can I make my real estate listing description stand out?

To make your real estate listing description stand out, focus on highlighting unique features, using vivid language, and creating an emotional connection with potential buyers. Incorporate descriptive words, paint a picture of the lifestyle the property offers, and emphasize its key selling points to capture attention and generate interest.

Q: What makes a good property headline?

A good property headline is attention-grabbing, concise, and highlights the unique selling points of the property. It should capture the essence of the property in a few words and pique the interest of potential buyers. Incorporate compelling features, such as stunning views, luxurious amenities, or a desirable location, while maintaining clarity and relevance. A well-crafted headline can entice viewers to click on the listing and learn more about the property.

Q: What are some effective ways to describe a property's architectural style?

When describing a property's architectural style, use descriptive terms that evoke a sense of character and appeal. For example, you could describe a Victorian-style home as "elegant and ornate," a modern minimalist home as "sleek and contemporary," or a farmhouse-style home as "charming and rustic." If you’re unsure what style your house is, you can find out in this guide to different types of houses .

Q: How can I create a sense of urgency in my listing description?

To create a sense of urgency, emphasize limited availability or unique selling points that differentiate the property from others in the market. Highlight features like "rare waterfront views," "highly sought-after neighborhood," or "recently renovated gem" to convey exclusivity and encourage potential buyers to act quickly. Learn how to sell your home fast .

Q: Is it important to use keywords in my listing description for online searches?

Yes, incorporating relevant keywords in your listing description can help improve its visibility in online searches. Consider using location-specific keywords, property features, and popular amenities to attract potential buyers who are searching for specific criteria. However, ensure that the keywords flow naturally and the description remains engaging and informative.

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• Listing Agent

150 words and phrases to elevate your listing descriptions

• October 26, 2022

Every agent knows how important it is to write a compelling real estate listing description. Most home searches start online these days and there are a lot of listings for buyers to sort through, so your listing needs to grab attention in order to stand out from the rest. In a previous article , we showed you how to write an evocative listing description: start with a unique headline, tell a story about the property that allows the potential homebuyer to envision themself in the home, and be sure to end with a clear call to action. This can be a difficult task––just finding the right words can be a struggle. Here we’ve compiled a list of over 150 words and phrases that will help you effectively describe the homes you’re listing and entice buyers to come and take a closer look.

Exciting words for all types of homes 

To start with, let’s give you some general use words that can get the ball rolling for many types of homes.

• enchanting   
• delightful   
• fetching   
• irresistible
• impeccable   
• inviting   
• unforgettable  move-in-ready  
• one-of-a-kind  
• alluring   
• beautiful  
• idyllic  
• crisp   
• captivating   
• marvelous  
• breathtaking   
• ideal   
• exemplary   
• epitome of…   
• attractive   

Kitchens 

For some homebuyers, the kitchen is the most important space in the house. Perhaps they like to entertain guests and enjoy cooking. Or they could just have a large family that needs to be fed. In any case, pick some of these words to say “this kitchen is going to work for you.”

• usable space
• accommodating 
• hospitable 
• functional 
• practical 
• generous 
• convenient 

Living rooms 

The living room is where, well, people live . It’s all about warmth, family, and entertaining friends. Here are some words and phrases to help you evoke that welcoming atmosphere.

• well-lit 
• cheerful 
• genial 
• vivacious 
• designed for entertaining
• natural light 

Yards and Patios 

The yard, the patio, the garden, the grounds––the out of doors spaces of a home are where people go to relax and experience the natural beauty of the region they live in. If your listing has a great backyard, here are some ways to convey that to potential buyers.

• tranquil 
• al-fresco dining 
• oasis 
• secluded 
• refuge 
• sustainable 
• serene 
• peaceful 
• idyllic 

Neighborhoods

It’s hard to overstate the importance of an appealing neighborhood. For some buyers, location is the most crucial aspect of a home. Here are some words to help you sell a great neighborhood.

• prime 
• coveted 
• walkable 
• quiet 
• moments from… 
• tree-lined 
• centrally-located 
• accessible 
• out-of-the way 
• sought after 
• enchanting 
• vibrant 
• lively 

Modern homes 

Some homes beg for descriptions that emphasize style over substance. Use these words to convey the allure of your hip, modern listings.

• elegant 
• stylish 
• refined 
• sophisticated 
• trendsetting 
• clean lines 
• state-of-the-art 
• striking 
• creatively-updated 
• modern flare 
• sparkling 
• sleek 
• flowing 
• contemporary 
• fashionable 

Small homes 

Small homes have gotten a bad rap. These days, many homebuyers are looking for something with less of a footprint. Pick from some of these words to let buyers know you get the appeal of a smaller house.

• charming layout 
• adorable 
• delicate 
• cheery 
• well-appointed 
• size-conscious 
• tiny house 
• comfy 
• energy efficient 
• unostentatious 
• unfussy 
• bijou 
• elfin 

Large homes 

For some, bigger really is better. Let ‘em know this is a ginormous space!

• expansive 
• grand 
• generously sized 
• sizable 
• ample 
• considerable 
• tremendous 
• immense 
• lofty 
• towering 

Historic homes

Old homes have so much character. These words will help you get at what makes your historic listing so special.

• timeless 
• original 
• antique 
• old-world-charm 
• rough-hewn 
• romantic 
• time capsule 
• classic 
• artisan 
• heritage 
• treasure 

Lighting is important. Whether it’s steaming through expansive windows in the morning or falling in golden shafts and pooling on the hardwood floors in the late afternoon, here are some ways of describing the light in your listing.

• sunny 
• scintillating 
• dazzling 
• luminescent 
• aglow 
• brilliant 
• stirring 
• dramatic 

Listing a home with a magnificent view? Tell homebuyers it’s going to knock their socks off.

• jaw-dropping 
• unobstructed 
• vista 
• sublime 
• awe-inspiring 
• sweeping 
• stunning 
• majestic 
• sloping 
• rolling-hills 
• scenery 
• countryside 
• cityscape 
• natural environment

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7 Steps to Writing Creative Real Estate Listing Descriptions

• Attract Buyers
• Marketing Tips
• Published on December 20th, 2023

Dorothy O’Donnell is a writer based in San Francisco. She covers lifestyle, travel, real estate and other topics for publications such as the Los Angeles Times and 7x7.

Kelsey Morrison is an editor for HomeLight's Resource Centers. She brings six years of editorial experience covering real estate, home design, cooking, crafting, and pet care. With a background as a commerce editor at World of Good Brands (eHow.com and Cuteness.com) and an associate editor at Livabl, Kelsey holds a bachelor’s degree in Journalism from Concordia University in Montreal, Quebec.

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At HomeLight, our vision is a world where every real estate transaction is simple, certain, and satisfying. Therefore, we promote strict  editorial integrity in each of our posts.

Today’s homebuyers can scroll through dozens of real estate listings on the web in a matter of minutes, which means you may only have one fleeting moment to use creative real estate listing descriptions to get them to notice yours before they’re onto the next.

Those sweeping aerial drone images of your home’s acreage and pics that show off your light-filled interior are sure to catch their eye. But it’s equally important to pair your amazing photos with a well-crafted narrative that helps buyers imagine what it would be like to live there.

The listing description is your chance to emphasize the best aspects of both your home and the surrounding area, whether you have access to quality schools or are walking distance from the historic district with boutiques and microbreweries.

Step One: Talk to an Expert Listing Agent

It takes just two minutes to match you with the top-performing listing agents in your market. Our data shows that the top 5% of agents in the U.S. sell homes quicker and for as much as 10% more than the average agent.

1. Write down your home’s best selling features

Local MLSs , or the databases where for-sale property listings are aggregated and then disseminated to major real estate websites, typically have a character limit for real estate listing descriptions. So you can’t write a novel about your home (nor will most buyers have the patience to read one).

“I will always point out those desirable things that the buyer might not know otherwise from just looking at the pictures,” says Mary Jo Santistevan , who works with 81% more single-family homes than the average agent in Phoenix and touts 17 years of experience. “The description is our chance to put in things like the hand scraped mahogany wood flooring or chiseled stone from Italy.”

Remember to highlight neighborhood features such as nearby walking trails or local attractions. A great location is especially important to share when your house is modest or needs some work, advises Mike Tchobanian , a top-performing Las Vegas agent. If your interior is fairly dated, for instance, he advises playing up that peaceful park at the end of your block instead.

You should also consider buyer preferences. According to HomeLight’s Top Agent Insights for End of Year 2023 national survey, 21% of agents say buyers are increasingly prioritizing homes with features that may lead to lower insurance rates, such as storm-resistant features and security systems, with 7% seeing “a significant shift toward such homes.”

Examples of features and amenities for your real estate listing description:

Home features and amenities.

• Chef’s kitchen
• Dedicated home office
• Hardwood floors
• Front porch or deck
• Spacious family room
• Outdoor kitchen
• Fenced-in backyard

Neighborhood features

• Excellent schools
• Close to shops and restaurants
• Walking distance to parks
• Well-maintained homes
• Safe and quiet streets
• Convenient public transportation
• Easy freeway access

2. Get inspired by other standout listings

In addition to bouncing ideas off your agent, hop online to study standout listings already published on the MLS. Tchobanian keeps a file of creative listings he turns to for inspiration when writing new descriptions.

Here’s one for an upscale property in his area:

Picture yourself living on the second fairway of a Tuscany golf course on a premium lot in a gated community. This home is truly made for both entertaining and everyday living, with plenty of space and fabulous views. Enjoy an open floor plan, high ceilings and a chef’s kitchen with stainless steel appliances, plenty of cabinets and a roomy pantry. 

The heart of this home, the kitchen — with adjoining dining and family rooms — make it ideal for gatherings. Walk outside to your backyard oasis, an east-facing paradise with stretched patio and captivating golf course and mountain views. This property is immaculate, well-cared for, and ready for new owners. Welcome home!

The first sentence of the listing invites buyers to imagine themselves living in an attractive golf community. It then reels them into the rest of the listing by capturing the property’s most appealing features through carefully selected descriptions: open floor plan, high ceilings, stainless steel appliances, chef’s kitchen, backyard oasis, stretched patio, mountain views.

Note that the copy skips dry facts like square footage and the number of bedrooms. While this information is useful, it doesn’t conjure up vivid images that bring the home to life. Plus, it’s already available in your listing’s data fields.

You want to capture someone’s attention in the first few seconds so they’ll keep reading. Mike Tchobanian Real Estate Agent Close Mike Tchobanian Real Estate Agent at Vegas Capital Realty 5.0 Years of Experience 19 Transactions 653 Average Price Point $298k Single Family Homes 476

3. Craft an attention-grabbing headline

Some real estate listings omit headlines. But going without one is a missed opportunity to get more people to click through to your ad. It’s worth taking the time to sum up one or two of your home’s most appealing characteristics in a concise, punchy title .

“You want to capture someone’s attention in the first few seconds so they’ll keep reading,” says Tchobanian.

Maybe your home is one of a handful of coveted bungalows on the market in a sought-after neighborhood. Convey that with a headline such as: “Rare Gem: Bright and Spacious Bungalow in Desirable Sycamore Park.”

4. Hook buyers with a compelling opening statement

Tantalize buyers — and leave them craving more — by spotlighting one of your home’s standout features in the first sentence of your ad. Take this opening statement for a listing describing a rustic hideaway in Marin County, California for instance:

Imagine tossing another log on the fire in your cozy redwood timber cabin, tucked away in the gorgeous hills of Mill Valley on a serene and private ¾-acre lot.

Instead of spewing facts about the property, this sentence hooks readers with specific details that tell a captivating story.

5. Include accurate but fresh adjectives

Your listing should set expectations for a buyer by creating visuals in their mind’s eye that spark emotion. Insert strategic adjectives into your description that are both picturesque and stirring, and you can influence a buyer’s first impression of your home before they ever set foot in it.

“I use adjectives like ‘modern home; swanky kitchen; clean lines; and crisp, white cabinetry,’” Santistevan says. “Words like these make buyers go, ‘Wow, this sounds great! I want to see this home.’”

Descriptive words to use in a creative real estate listing description:

• Chef-grade appliances
• Custom-built
• Move-in-ready
• Ultra-modern

Coschedule, a highly rated marketing platform, offers this comprehensive list of “power words” for crafting emotional copy.

According to a post on The ListReports® Blog, the key to making your listing stand out is crafting a description that captivates and sustains the reader’s interest. To achieve this, steer clear of these overused words:

• Natural landscaping
• Charming, wonderful

6. Arrange the selling points in a logical order

Once you’ve nailed your opening statement, continue highlighting your home’s most desirable traits — the ones you picked in your initial conversations with your agent .

To keep buyers reading, ensure your information is well-organized. If your listing is just a long string of opulent adjectives, buyers will become overwhelmed and possibly lose interest. Guide them through the copy by arranging featured items to match the order of your photos.

Order the description and photos from the front door to the backyard so buyers know what to expect when they’re walking through the house in person.

You should aim for the middle ground between showcasing and overselling your home in the description. For example, if you’ve got a flagstone patio , an in-ground pool, and a custom fire pit, you can describe your backyard as “resort-like.” But if all you’ve got is grass — say so. Just word it creatively, such as referring to it as a spacious, rolling green lawn.

7. Avoid fair housing violations

Established in 1968, the Fair Housing Act prohibits discrimination in the renting or sale of housing nationwide . This means that your listing description cannot use any language that could be interpreted as discriminatory against any of the seven protected classes : race, color, religion, national origin, gender, disability, or familial status.

“You can’t say something like ‘the perfect property for bachelors or young adults,’” notes Tchobanian.

There’s no official HUD list of banned words, but here are some examples of words or phrases that might raise red flags:

• Family-oriented
• Perfect for families
• Traditional neighborhood
• Bachelor pad
• Country club

So is there an appropriate way to mention that your neighborhood’s family-friendly, or the fact that your kids are able to walk to their top-performing public school?

There certainly is, you’ve just got to choose your words wisely.

You can play up monthly neighborhood potlucks or give the distance from your house to the nearby school.

If you’re eager to share the wonderful things about your home and neighborhood that are difficult to describe without violating the Fair Housing Act , Santistevan has a solution:

“I have my sellers draft a letter about why they love their home and why they’re so sad to leave it. Then I print it on cute paper and I’ll leave it on the counter with the house flyers. Since it’s coming directly from the seller, I get the message out to potential buyers without violating the Fair Housing Act .”

Find an Agent Who Writes Amazing Listing Descriptions

We’ll connect you with three agents who are top of their market and experienced in the word-smithing that makes homes shine online.

Grab a pen, Shakespeare. It’s time to wax poetic about your home.

Your real estate listing description can either win buyers over or cause them to discount your home amid a sea of competing online listings. With a little imagination and teamwork with your agent , you’ll hit upon the right words to showcase and sell your home. Don’t forget to proofread your masterpiece for spelling and grammatical errors before it goes live!

Header Image Source: (Panumas Yanuthai/ Shutterstock)

• "The 1,900+ Power Words You Need to Write Awesome Headlines," CoSchedule (June 2022)
• "How to Invest in Real Estate: A Complete Guide," The Motley Fool (September 2022)
• "The Fair Housing Act's Protected Classes: What Landlords Need to Know," NOLO (July 2023)

Dorothy O'Donnell

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Kelsey Morrison

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How to write a real estate listing description that sells.

Taylor Landis

Did you know that 93% of homebuyers shop online for properties? This means your real estate listing description matters more than ever. A great listing is written to cast the property in its best light while making you look professional to both your client and potential buyers. But writing a compelling listing can be easier than you think. We’re here with eight tips for you to write a real estate listing description that sells.

Describe the property accurately.

Original: needs some TLC but lots of big time potential to make your mark!! Better: This single-owner home sits on a large lot with mature trees. It’s ready for the next owners to bring it into the 21st century.

This may seem like a no-brainer, but your real estate listing description should be accurate. If the house is barely 900 square feet, writing that the space is “sprawling” is dishonest. When you say a home is in “excellent condition” and there is water damage throughout the house and the back deck is rotting, a potential buyer will be turned off by seeing this on arrival. Setting unrealistic expectations helps no one.

Instead, own up to the home’s flaws or shortcomings and turn them into positives or offer suggestions to fix them. If your potential buyers know what to expect, they’re more likely to be accepting of the work that needs to be done.

Choose adjectives wisely.

Original: This gorgeous and nearly perfect house will stun you with its modern and dazzling interior finishes. Better: You’ll find tasteful updates throughout this recently renovated, stunning home. Schedule a tour today!

Be descriptive, but don’t go over the top with your praise. Remember, people can tell when you’re trying too hard. For example, we all know “cozy” is code for “very small.” Your real estate listing description is your chance to get creative and paint a picture of your listing. Adding too many extra adjectives will make the readers assume you’re trying to distract them from reality.

Avoid red flag words.

In a study of 24,000 homes, Zillow found certain words that will actually hurt a home listing. This means the way you write your real estate listing description could actually affect the final selling price.

These words include “fixer,” “TLC,” and “cosmetic.” Why? Unless you’re looking to flip a home, these words imply the home requires a lot of work. While these words are not outright negative, they give potential home buyers the impression there is a lot of room to negotiate. Save these words unless you have a home that needs a lot of work and is priced accordingly.

Include words that add value.

While you may want to avoid the red flag words listed above, there are also words that can help a home listing. “Impeccable,” “luxurious,” and “landscaped” were found to help boost sales prices. So if there’s a jacuzzi tub in the master, luxurious will definitely apply to your real estate listing description.

Highlight unique features.

Character can help sell a home. Is there a fireplace in the master bedroom? Or maybe an original stained glass window in the entryway? At the very least, it will help potential buyers differentiate your listing from the other dozen they are browsing.

Mention a few one-of-a-kind home features in your real estate listing description and the right buyers will appreciate it. It may end up being what makes a potential buyer schedule a showing.

Take notice of punctuation.

Original: tons of natural light – nice park nearby lots of trees in backyard, move in ready Better: This move-in ready home has been recently updated, including new windows that provide ample of natural light. Enjoy the shaded backyard or walk to the neighborhood park down the street.

Every sentence should not end in an exclamation! If everything is amazing, then nothing is! On the other end of the spectrum, be sure that you use punctuation. Long, run-on sentences are hard to follow and information gets lost.

Write your real estate listing description using complete sentences and appropriate punctuation . Readers will appreciate the effort you took to write a coherent, easy-to-follow summary.

Leave out super basic info.

The number of beds, baths, stories, and so on is visible elsewhere in your online listing. This also applies to your phone number or contact info. That should be available in your email or on your landing page. Save your real estate listing description space for the juicy details that will make potential buyers want to see it for themselves.

Use great photos.

This isn’t anything you can write, but photos are an incredibly important part of your listing. Consumers are more tech-savvy than ever and expect quality photos. If your images are poorly lit, grainy, or too small to see anything, people will move on to the next listing.

Smartphones can do just about everything, including taking pretty excellent photos. If you remember anything, remember that natural light is your best bet. Open the curtains and get to snapping !

Time to put your real estate listing description to work!

Let’s take what we’ve learned and write up a sample real estate listing description.

updated throughout, nice yard, good size for family, but lots of room to grow!! all bedrooms updated w/clean carpet – w/d connections – charming and comfortable home. Good neighborhood too

This stunning two-story home is on a large lot in a hot neighborhood. From the open-concept kitchen and living space to the large shaded backyard, there is plenty of room for the whole family to enjoy. Recent updates include new carpeting upstairs and stainless appliances. Situated in a family-friendly neighborhood near a great park, this home is sure to go fast!

Focusing on your clients

Helping your clients buy or sell a home is a time-consuming process, and writing a real estate listing description is just one tiny part of the process. Between showings, inspections, closings, and all the other tasks that need to get done, time is a limited resource. Writing newsletters and engaging with your network on social media may not even make it on the to-do list.

That’s where OutboundEngine can help. We craft content for your email marketing campaigns as well as your social pages and automatically send and post to your network. By staying in touch with your past and current customers, you uncover potential opportunities and build your valuable referral business.

And now that you’ve spent time writing compelling listings, how do you get more eyeballs on them? We help you sell your clients’ homes faster and close more deals by integrating IDX listings into your website. It’s called Listings Pro, and it’s now available for both existing and new OutboundEngine customers. For current customers, click here to set up a call with your Account Manager to add Listings Pro to your website. If you’re new to OutboundEngine, schedule a free demo  today to see how we can help your real estate business grow.

5 Easy Marketing Ideas for Small Businesses in 2023

by Amanda Johnson | Jan 9, 2023 | Business Strategy , Sales

What are you doing differently in 2023 to make it an even better year for your business than 2022? The world has changed a lot in a few short years; the businesses that succeed through change are the ones that adapt and innovate....

Better Email Etiquette Equals Better Marketing Results [16 Rules]

by Erin Myers | Jan 3, 2023 | Criminal Defense , Email Marketing , Financial Advisors , Home Services , Insurance , Massage Therapy , Mortgage , Promotional Products , Real Estate , Wellness

In an age where a first impression may be made without meeting someone first, it's crucial you're aware of email marketing etiquette. If you want to make the most of your efforts, you need to be sure you're not committing a faux pas that could have you end up in the...

2023 Email Marketing Roadmap for Business Owners

by Amanda Johnson | Dec 30, 2022 | Learn Marketing

The 2023 Email Marketing Roadmap for Small Business Here at OutboundEngine, we sent more than 114 million emails in 2021. So you know we're speaking from experience when we say: email marketing works, but only when you know what you're doing. We believe every business...

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Writing Nestling

How To Describe A House In Writing (11 Best Ways)

Describing a house in writing is more than just a portrayal of bricks and mortar; it’s an intricate art form, a literary journey through the architecture of imagination.

In this craft, writers have the power to create vibrant, evocative spaces that transcend mere physical descriptions and serve as living canvases for the stories they wish to tell.

Whether it’s a cozy cottage nestled in the heart of a forest, a grand mansion steeped in history, or a modern city apartment with all the trappings of contemporary life, the process of painting the house with words is an opportunity to evoke emotions, kindle memories, and transport readers into the very essence of a narrative.

This exploration, much like a tour through a house’s rooms, is a journey through the senses, an unraveling of histories, and a passage into the heart of storytelling itself.

In this guide, we will embark on a journey of understanding and mastering the art of describing a house in writing , encompassing all its intricate facets to bring vivid life to our stories.

Table of Contents

How To Describe A House In Writing

Describing a house in writing involves capturing its key features, atmosphere, and characteristics. Here’s a step-by-step process for doing so:

Select Your Perspective

Decide whether you are describing the house as an objective observer, a potential buyer, or someone with emotional ties to it. Your perspective will influence the tone and focus of your description.

Observe and Take Notes

Spend some time in and around the house, noting down its details. Pay attention to both the exterior and interior. Take notes on architectural elements, landscaping, and the overall condition.

Start with an Introduction

Begin your description with a captivating introduction. Mention the location, any unique historical or architectural aspects, and the overall vibe of the house.

Exterior Description

Describe the architectural style, such as Victorian, modern, colonial, etc. Mention the size and layout of the house, including the number of stories. Highlight any distinctive exterior features like a front porch, dormer windows, or a landscaped garden. Comment on the condition of the exterior – is it well-maintained or in need of repairs?

Interior Description:

Walk through each room, starting with the main living spaces. Describe the layout, size, and purpose of each room (kitchen, living room, bedrooms, etc.).Note any unique or standout features, like a fireplace, hardwood floors, or high ceilings.

Discuss the decor, paint colors, and overall interior design. Emphasize the lighting, natural and artificial, and how it contributes to the ambiance.

Atmosphere and Feel:

Discuss the overall atmosphere of the house. Is it cozy, spacious, elegant, or modern? Describe how it makes you feel or the emotions it evokes.

Mention any scents or sounds that are particularly notable, such as the scent of freshly baked cookies or the sound of a crackling fireplace.

Outdoor Features:

Include details about the yard, garden, or outdoor spaces. Discuss any amenities like a pool, patio, or outdoor kitchen. Note the views from different areas of the property.

History and Background:

If applicable, provide some historical or personal context. Has the house been in the family for generations, or is it a new construction with an interesting backstory?

Maintenance and Upkeep:

Mention the condition of the house, whether it’s well-maintained, in need of renovation, or recently updated.

Conclusion:

Summarize the key points of your description. Mention any standout features or elements that make this house unique. Convey your overall impression and whether you would recommend it to someone with specific preferences.

Proofread and Edit

After writing your description, proofread it for clarity, coherence, and grammar. Make any necessary revisions to ensure the text flows well.

By following these steps , you can create a comprehensive and engaging description of a house in writing, whether for a real estate listing, a personal project, or any other purpose.

Pre-writing Preparation

Pre-writing preparation is the enchanted gateway where your imagination takes its first exhilarating steps into the realm of creativity.

It’s your backstage pass to the show of words, where you gather sparks of inspiration, setting them alight like stars in the night sky of your mind.

With a mood board as your treasure map and the world as your canvas, you define the very purpose of your words, crafting a compass that will guide your reader through the uncharted terrain of your imagination.

In this ephemeral moment before pen meets paper or fingers touch keys, you are the architect of dreams, the weaver of tales, and the creator of worlds.

Observation and Note-Taking

Observation and note-taking are your secret agents in the espionage of reality, your magnifying glass in the quest for hidden treasures.

They’re like the watchful sentinels who stand guard at the gateway between your senses and your soul. As you venture into the world, they capture the minuscule whispers of the wind, the symphony of colors dancing in a sunset, and the delicate aroma of memories tucked in the corners of a room.

In their meticulous scribbles and sketches, you unearth the fossils of emotions and the jewels of detail, piecing together the puzzle of existence.

These notes are the breadcrumbs that lead you back to the forgotten realms of your experiences, and when the time comes to craft your tales, they transform into the keys unlocking the doors of enchantment for your readers.

Visit a real house or imagine one in detail

Whether you choose to visit a tangible, real house or conjure one from the ethereal fabric of your imagination, the journey is equally captivating.

Stepping into a real house is like embarking on an archaeological expedition, unearthing layers of history and stories embedded in its walls.

Each creaking floorboard and fading wallpaper tells a unique narrative, and your senses become detectives seeking clues to its past.

Conversely, when you create a house within your mind, you become an architect, fashioning every brick and beam with meticulous intention.

You have the power to construct a world from the ground up, shaping the very essence of your characters’ lives. Whether real or imagined, these houses are portals to parallel worlds, inviting you to explore the infinite possibilities of human experience and imagination.

Use all senses for a comprehensive description

To paint a truly immersive picture, one must employ all the senses, as they are the palette of life’s canvas. It’s not just about what the eye beholds; it’s the symphony of sensations that makes a description come alive.

The sight captures the grandeur of a house’s architecture, the play of colors, and the interplay of light and shadow. Sound brings us the rustle of leaves in the breeze or the creaking of a wooden floorboard. The subtle fragrances, both inviting and peculiar, breathe life into the atmosphere.

Touch reveals the texture of walls, the warmth of sunlight, and the coolness of marble floors. Even taste, though less common, can be evoked by describing the air’s flavor, or perhaps the lingering essence of a meal in the air.

When all these senses converge, a description transcends words and becomes an experience, transporting the reader into the very heart of the scene.

Organizing Your Description

Organizing your description is like composing a symphony of words, where you’re the conductor orchestrating the reader’s journey through the labyrinth of your imagination.

It’s the blueprint, the road map, the compass that ensures your storytelling ship sails smoothly through the unpredictable seas of prose.

Every carefully chosen word, each sensory detail, and every pause is a note in the grand opus of your description.

Your canvas is the reader’s mind, and you’re the master artist, crafting their visual and emotional experience. It’s not just about what you say, but how you say it, creating a literary choreography that dances through the reader’s senses, leaving an indelible footprint in their imagination.

Describing the Exterior

Describing the exterior of a house is like capturing the essence of a soul in architectural form. It’s the first impression, the handshake of the building with the world.

The exterior tells a story, whispering secrets of the past through the choice of materials, the lines and curves of its design, and the weathered patina of time.

Each brick, window, and shingle is a character in the drama of its existence, and the surrounding landscape is the stage upon which this architectural performance unfolds.

From the ornate grandeur of a Victorian mansion to the sleek, modern lines of a minimalist marvel, the exterior is a canvas where the artist of words paints an evocative masterpiece, inviting readers to wander through its living history.

Architectural style and historical context

Describing the architectural style and historical context of a house is like opening a time capsule of human ingenuity. It’s a journey through the annals of history, a glimpse into the tapestry of culture, and an exploration of the evolving language of design.

Architectural style speaks volumes about the era in which a house was born, whether it’s the Gothic spires of the medieval period or the sleek lines of mid-century modernism.

Each style is a chapter in the grand narrative of human civilization, embodying the values, aspirations, and artistic trends of its time.

As a writer, delving into historical context is like becoming an archaeologist, unearthing the buried treasures of a bygone age.

It’s a form of storytelling that breathes life into inanimate structures, giving them a voice that whispers the secrets of their creation and the echoes of those who once dwelled within their walls.

Setting and surroundings

The setting and surroundings of a house are the ever-shifting stage upon which the story of its existence unfolds.

They are the embrace of nature, the neighborhood’s heartbeat, and the silent witnesses to the ebb and flow of life.

Whether nestled in the tranquil solitude of a forest, standing proud in the heart of a bustling city, or perched on the edge of a windswept cliff, the setting and surroundings shape the house’s character and breathe life into its narrative.

The landscape, the neighboring structures, and the natural elements provide context, framing the house’s personality like a portrait.

It’s here that writers wield the power of description to transport readers to a specific time and place, immersing them in the atmosphere, and allowing them to feel the unique pulse of the world in which the house resides.

The setting is not just a backdrop; it’s a character in its own right, influencing the house’s story and enriching the reader’s journey through its vividly painted world.

Describing the Interior

Describing the interior of a house is like embarking on a journey through the corridors of the soul. It’s a magical odyssey where each room becomes a chapter, and every piece of furniture is a character with its own story to tell.

As a writer, you are an architect of emotions, a curator of ambiance, and a storyteller of human lives etched into the walls.

From the cozy, sunlit nooks where laughter and secrets are shared, to the dark, mysterious chambers hiding their enigmas, the interior is a symphony of textures, colors, and emotions.

With your words, you guide the reader through the labyrinth of emotions and memories, making them not just observers but participants in the unfolding drama of a house’s interior, where the past and present mingle in a beautifully chaotic dance of existence.

Entry and first impressions

The entry of a house is the portal to its soul, a threshold where the story of a home begins.

It’s the first chapter in the narrative of the interior, and much like the opening lines of a novel, it sets the tone for what lies beyond.

As the author of this description, you hold the power to guide the reader’s senses as they cross the threshold. The door, whether weathered and welcoming or imposing and ornate, is the guardian of secrets.

The lighting, whether dappled with warm sunshine or bathed in the cool glow of moonlight, casts a particular mood.

The decor, the scent, the arrangement of objects – all these elements come together to offer the reader their initial impression, like the first chords of a symphony.

The entry is where anticipation and curiosity blend, inviting readers to step deeper into the unfolding narrative of the house, each footfall echoing with the promise of discovery.

Character and personality of the interior

The character and personality of the interior are like the beating heart of a house, the very essence of its soul unveiled.

Every room is a chapter in the house’s unique story, and it carries its own distinct character. Whether it’s the cozy charm of a well-loved family room with threadbare sofas and walls adorned with cherished photographs, or the elegance of a meticulously designed library filled with leather-bound books and antique furniture, each space holds its own secrets and emotions.

The personality of the interior is a reflection of the people who have dwelled within its walls, their passions, and their idiosyncrasies.

As a writer, your words have the power to breathe life into these spaces, evoking the atmosphere, the history, and the emotions that have unfolded within them.

The interior of a house is a multi-dimensional character in itself, and it’s through your descriptive prose that it takes on a role, engaging readers and beckoning them to explore its depths, its quirks, and its undeniable allure.

Using Metaphor and Symbolism

Using metaphor and symbolism in writing is akin to infusing a tapestry of enigma and depth into the very fabric of your narrative.

It’s the literary equivalent of an artist applying layers of paint, revealing more than meets the eye. Metaphors are the breadcrumbs leading readers down a poetic path, allowing them to dance between the lines of reality and abstraction.

Symbolism, on the other hand, breathes life into the mundane, turning everyday objects and settings into gateways to deeper meanings.

These tools are the magic keys to the castle of imagination, granting access to hidden chambers of thought, emotion, and understanding.

Writers who wield metaphors and symbolism create a symbiotic relationship with their readers, inviting them to decode, interpret, and become an integral part of the storytelling experience.

The words become a world within themselves, teeming with secrets, revelations, and a symphony of resonating truths.

Dialogue and Character Interaction

Dialogue and character interaction in writing are like the intricate choreography of a dance, where the words become the elegant waltz of storytelling. It’s not just a means of communication; it’s the vibrant heartbeat of your narrative.

When characters engage in conversation, they reveal their true essence, their desires, and their vulnerabilities. Dialogue becomes the window to their souls, allowing readers to eavesdrop on the symphony of emotions and conflicts that course through the story.

The art of crafting dialogue isn’t just about the words spoken; it’s the unspoken sentiments, the silences pregnant with meaning, and the electricity that crackles in the air when characters collide.

As a writer, you are the conductor of this grand opera, orchestrating the verbal ballet that unravels the plot, deepens connections, and thrusts the reader into the tumultuous world of your characters.

In the dance of dialogue, you hold the power to make your characters breathe, laugh, cry, and love, drawing readers ever deeper into the rich tapestry of your narrative.

Highlighting how characters interact with the house

Characters and their interaction with the house are like a silent dialogue, a dance of emotions played out against the backdrop of architecture.

The way they navigate the hallways, touch the walls, or choose a particular spot to sit reveals their relationships, their histories, and their innermost thoughts. Each creaking floorboard, every beam of sunlight that catches their eye, becomes a reflection of their mood.

In a way, the house itself is a character, responding to their presence, bearing witness to their joys and sorrows. As a writer, you have the privilege of crafting these interactions, using them to illustrate the profound connection between the characters and their environment.

Whether it’s a comforting embrace or a source of tension, the house becomes more than bricks and mortar; it’s an essential part of the story, amplifying the drama and resonating with the emotions of those who inhabit it.

Emphasizing the house’s role in the narrative

The house in a narrative isn’t just a setting; it’s a living, breathing entity with a pivotal role to play. It’s more than bricks and beams; it’s a silent character, a reflection of the story’s soul.

The house often holds secrets, serves as a repository of memories, and even becomes a mirror to the characters’ inner worlds. It can be a sanctuary, a prison, or a puzzle to be unraveled.

The house’s architecture, history, and atmosphere can shape the plot, infusing it with mystery, nostalgia, or a sense of foreboding.

As a writer, emphasizing the house’s role is about crafting its presence in a way that makes it integral to the narrative’s progression.

It can be a catalyst for change, a witness to dramatic events, or a source of conflict. The house is more than walls; it’s a silent companion in the characters’ journey, a bearer of secrets, and an anchor in the storm of storytelling.

Frequently Asked Questions (FAQ) about How To Describe A House In Writing

Why is it important to effectively describe a house in writing.

Describing a house in writing is crucial for creating immersive, emotionally resonant narratives. It provides readers with vivid imagery, sets the tone, and breathes life into the settings and characters.

How can I make my house descriptions more engaging and unique?

To make your descriptions stand out, consider the house’s historical context, architectural style, and the way it interacts with your characters. Utilize metaphors, symbolism, and sensory details to add depth and intrigue.

How do I balance descriptive prose with storytelling in house descriptions?

Striking a balance involves integrating descriptions into the narrative flow. Instead of overwhelming readers with details, make the descriptions relevant to the story, characters, or themes.

What should I keep in mind when describing the exterior of a house?

When describing the exterior, consider the house’s architectural features, historical context, surrounding environment, and how these elements contribute to the atmosphere of your story.

How can I effectively convey the character and personality of the interior in my writing?

Focus on the details that reflect the residents’ lives, emotions, and history. Describe the layout, furnishings, and ambiance, allowing readers to connect with the characters through the space.

Is it necessary to use metaphors and symbolism in house descriptions?

While not mandatory, metaphors and symbolism can add depth and layers to your descriptions. They can evoke emotions, connect to the story’s themes, and make the descriptions more engaging.

What role does the house play in a narrative, and how can I emphasize it effectively?

The house can be a character in itself, influencing the plot, and reflecting the characters’ journeys. To emphasize its role, ensure that it interacts with the story, the characters, and the themes in a meaningful way.

How can I ensure my house descriptions are not overly detailed or boring for readers?

To prevent excessive detail, consider your audience and purpose, and select relevant details that contribute to the atmosphere, plot, or character development. Engage beta readers for feedback to find the right balance.

Are there any resources or books to help me improve my skills in describing houses in writing?

Yes, numerous resources, books, and articles provide insights into descriptive writing. Some recommended reads include “The Elements of Style” by Strunk and White, and “The Descriptive Writer’s Guide” by James J. Cramer. Online writing communities and workshops can also offer valuable guidance.

Can you provide any tips for aspiring writers looking to master the art of describing houses in their stories?

Certainly! Start by practicing descriptive writing regularly. Be observant, research, and create mood boards for inspiration. Read books known for their descriptive prowess and seek feedback from peers to continually refine your skills. Writing is a journey, and mastering the art of description takes time and dedication.

Describing a house in writing is more than mere description; it’s an alchemical process that turns words into living spaces, and readers into explorers of the imagination.

Throughout this journey, we’ve uncovered the architectural wonders and emotional landscapes that a well-described house can unveil. We’ve seen how each room, each brick, and every scent carries significance, weaving into the narrative’s tapestry.

The house, be it a humble abode or a sprawling estate, becomes a silent character, a guardian of stories, and a vessel for the human experience.

As writers, we hold the keys to this mansion of creativity, and through the art of description, we open doors to entire worlds. So, as you embark on your own literary quests, remember the power of a well-described house to anchor, enchant, and resonate with your readers.

With every detail, you invite them to walk through the door and join you in the enchanting realm of your storytelling.

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44 Ways to Describe Buildings–Homes I

For the next few months, weekly writing tips will include word choice suggestions. That includes:

• colorful and original descriptions
• pithy words and phrases
• picture nouns and action verbs
• writing that draws a reader in and addicts them to your voice

After taking some advice from Crawford Home Buyers , I keep a  collection of descriptions that have pulled me into the books.

It’s amazing how skilled writers can use just a few carefully chosen words to transport readers into the world of their story, capturing their attention and making them want to stay. While some authors might focus on describing homes in detail, others might take a different approach, relying on powerful imagery and sensory details to evoke a mood or feeling. No matter your writing style, it’s important to find a way to connect with your readers and draw them in. When it comes to bridging the gap between planning institutions and entrepreneurs, one useful resource is  https://netivey-hakama.co.il/ . This service produces professional content and promotes the transformation of licensing into a profession with required training and education, helping to connect planners and authorities with the wider community and promoting effective collaboration.

A note: These are for inspiration only . They can’t be copied because they’ve been pulled directly from an author’s copyrighted manuscript (intellectual property is immediately copyrighted when published).

• Fair-sized house built of red Lyons Sandstone with the most god-awful-looking picket fence I’d ever seen.
• Small upstairs apartment on Newport Island, a tiny piece of land accessible only by a bridge so narrow, it would admit just one car at a time.
• The weather-beaten slat cottage sat at the far end of a mostly brown lawn. Wood silvered by the sun. Roof shingles warped. Small stands of plantain and giant bird-of-paradise for privacy. Despite the weathered appearance of the slat cottage, there was hope for its revival thanks to the services of a reliable local company specializing in affordable roofing solutions. If you too wish to safeguard your home against the elements and enhance its aesthetic appeal, going for this local company is the answer. Their dedication to quality and affordability ensures that your roof not only withstands weather challenges but also adds to the charm of your dwelling. With their assistance, the weather-beaten cottage could regain its former glory, proving that a reliable roofing projects can breathe new life into any home.
• Rambling old farm house
• Gleamed with the spotless silence of for-company-only.
• He leaned on the old boards. They felt thin and veined, frozen by a hundred winters, baked by a hundred summers. They smelled of dust and age. A big house from buy houses syracuse ny , the kind in which most American kids dreamed of growing up. Secluded among trees on one of DC’s most exclusive streets, it had turrets, gables, dormers, balconies, a screened-in front porch, a free-standing garage, a gazebo, a pool, formal gardents, the American dream.
• Sturdy two-story residence designed without the least imagination
• A set of sagging wooden steps descended three treads from the door

Contact an Industrial Cleaning Services provider if you’re managing an industrial facility or planning to sell a commercial property.

• A room barely big enough to exhale into
• A room that showed her lack of interest in anything to do with what people thought of her
• Small with clean white walls, a twin bed, a desk with a blank blotter on it, sliding closets opposite the bed, and thin green shag carpet. Or make a call to Zerorez to do this job professionally.
• My Writing Area: My computer faces out the window. I like having the sky and buildings in the background. Occasionally a bird or plane flies by in the distance. To my far left is my 42″ flatscreen TV (size does matter), which often displays my daily dose of CNN or Grey’s Anatomy. Next to that is my Buddhist altar, which I need to make better use of. To my right is a framed poster displaying a poem of mine that had been on Chicago buses and trains. And to the far right is a black and white picture of Grand Central Station with wide beams of light gushing in through the windows. The beams look like they are about to make the commuters levitate at any minute and float skyward. A single light burned, casting light on a chintz couch and an antique Quaker chair
• Improvised kitchenette off to one side
• Walls and ceilings were covered with mirrors, a high-tech bordello.
• Furnishings were cheap, black-painted. A worn mustard-yellow bean-bag chair, a relic of the seventies. An old tape deck and a towering set of speakers whose cloth was fraying
• A front door that could accommodate a family of giraffes.
• A foyer that would accommodate the Serengeti Plant at the foot of a vast curving staircase that probably went to heaven
• Polished wood floors and a graceful banister that curved up toward a soaring second floor gallery.
• Persian rug cove red a shopworn carpet.
• Prints of gentlemen riding to hounds decorate the walls.
• Crumbling rock walls
• Beautiful high arched windows
• Velvet drapes framed the windows, the lace inner curtains remained drawn, allowing daylight to enter while rendering the heart-stopping view over the city a blur
• bay windows
• two tall windows allowed sunlight to flood the room
• the windows flanked a grey fabric sofa, burgundy throw
• sheer lace curtains bordered by heavy burgundy drapes matching

Click for the complete list of 70 69 writer’s themed descriptions .

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Jacqui Murray

• The Writer’s Field Guide to the Craft of Fiction
• How to Find a Premise for a Story
• How to Develop a Premise into a Story
• How to Describe Setting
• How to Create and Develop Characters
• How to Write a Scene
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• How to Move Through Time and Space
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• Interviews with Writers

How to Describe a House

Domingo Martinez’s memoir, The Boy Kings of Texas , was a finalist for the National Book Award.

Describing a house in a story ought to be easy. After all, real estate listings do it every day: 3 bedrooms, 2 baths. For poetic purposes, maybe throw in a window and chair. Of course, more is needed—but is that  more simply more detail?

One of the best examples of a house description that I’ve read in a long time comes from the first chapter of  The Boy Kings of Texas . Domingo Martinez’s memoir tells the story of his family and growing up in Brownsville, Texas. It was a bestseller and a finalist for the National Book Award. You can  read the opening pages   at the website of The Diane Rehm Show..

How the Story Works

As a thought experiment, try describing the house or apartment where you live. (Seriously, give it a try.)

What happened? Odds are, you started with the property listings and then got stumped. A good description requires some organizational principle, and until you find it, you’re just listing things.

The house that Martinez describes belonged his father’s stepuncle. The two families did not get along, as Martinez explains here:

Elogio and his four sons clearly felt that Dad and his family did not belong in the Rubio barrio, since Gramma had married into the barrio when Dad was already four years old, a child from another man. Elogio was our Grampa’s usurping younger brother, and he wanted control of the family trucking business that Grampa had built. As Grampa’s stepson, Dad challenged Elogio’s succession. It was a Mexican parody of Shakespeare, in the barrio, with sweat-soaked sombreros and antiquated dump trucks.

That tension is important because it informs the way Martinez describes the Rubios’ house, property, and near-feral dogs:

The Rubios had kept these dogs unfed, unloved, and hostile. Presumably it was to keep burglars away from their prototypical barrio home: a main house, built by farmhands many years before, with subsequent single-room constructions slapped together according to the needs of the coming-of-age males and their knocked-up wetback girlfriends. As such, the houses were consistently in varying stages of construction and deconstruction, because the boys never left home; they just brought their illegitimate children and unhappy wives along for the only ride they knew, the one that headed nowhere.

Notice the word choices:  slapped ,  knocked-up ,  wetback , illegitimate, unhappy.  They’re all negative.

Now, think about what other words Martinez could have described the house (or the words that a Realtor would use):  big, hand-built ,  rambling ,  homey ,  comfortable . But those words would be totally out-of-place in this passage. Because Martinez has clearly defined his feelings toward the inhabitants of the house, the tone of the description is established. Once you’ve got the tone, the actual descriptions tend to present themselves automatically. The trick is to give your brain some guidelines. You’re not asking it to pull up every single detail about a place, just a few. The more clearly (and, usually, more emotionally) you define the guidelines, the easier it is to write the description.

It’s also worth noting that the description of the Rubios’ house is connected inextricably to the people who live in it. The main two sentences about the shape and construction of the house (beginning with Presumably… and  As such… ) end with the human rationale for the construction decisions ( according to the needs…   and  because the boys never left home ). The behavior and the needs of the family shape not only the house but the description of the house as well.

The Writing Exercise

Let’s describe a house or apartment (or wherever you or a character lives) using the passage from  The Boy Kings of Texas  by Domingo Martinez as a model:

• Choose your narrator or main character. If it’s you—good. If it’s a character in a story—also good. You need a primary perspective, a lens through which to view the house and everything else.
• Choose the house and its inhabitants.  Who lives there? How are they connected to your narrator or main character?
• Identify the emotional angle on the house. How does the narrator or character feel about the house or the people living in it? Don’t think too hard; just brainstorm. Does the character have warm feelings? Is the character bitter, disappointed, angry, nostalgic, sad? Are the first memories or scenes that come to mind funny? Tragic? Tense?
• Write a quick scene/anecdote that illustrates that emotion. Focus the scene or story on a character or two and a particular moment in time. Remember, the goal is to tell a story that conveys how you or your character feels about the place.
• Generalize about the people who live in the house (or spend time there).  This can be as simple as writing a sentence that begins, “They were the kind of people who…”
• Generalize how the people  used the   house.  Did they use in a communal way (everyone eating, talking, hanging out together)? Did they isolate themselves into rooms? Did they come and go at odd hours? What sort of activities did they do there? Keep in mind the sort of people you are (previous step). If they’re the sort of people who ____, that means they spent a lot of time _____, which really made me/your character feel ______.
• Generalize how the house was a perfect/imperfect fit for these activities and these people. Did the house allow the people to do the activities? Were the people cramped? Did the people modify the house in order to do the things they wanted to do? In what ways did they modify their own behavior to fit the house?
• Describe the house.  You’ve probably already written a few lines about the house. Now you’re summing them up. You might start with a sentence about the people: They were the kind of people who _____ or They spent a lot of time _____. Or, you can jump straight to the house with a sentence like this: It was the sort of house that _____ or It was a typical _____ house. Your goal is to write a description of the house that focuses on the ways it was used, the ways it fit a type of behavior, or the ways it shaped the inhabitants’ behavior. Keep in mind the cue words and phrases that Martinez uses ( according to the needs…   and  because the boys ). How can you describe the house in terms of causality?

As you likely know, people’s houses tend to become manifestations of their personality traits. The goal, then, is to write a description of a house that is as active as the people who live in it.

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Tags: character development , creative writing exercises , creative writing prompts , describing setting and place , Domingo Martinez , Hispanic literature , How to Write a Personal Essay , Texas literature , The Boy Kings of Texas

• Comments 9 Comments
• Categories Character Development , Setting and Place

9 Responses to “How to Describe a House”

This was very informative and very helpful! I look forward to trying these tips out very soon.

Thanks! Let me know how it goes.

Cool tips for writers like me. It’s really hard to describe a house in a story if you want to make it real for your readers. Thanks for sharing your thoughts.

wow. great tips for bloggers like me. You did a great job on writing this post. I was impressed by your ideas.

Please I nedd help .

Please how can i become a writer

I like this

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Search for creative inspiration

19,890 quotes, descriptions and writing prompts, 4,964 themes

House - quotes and descriptions to inspire creative writing

• a place to call home
• abandoned house
• affordable housing
• burnt down house
• cleaning the house
• cleaning up
• dining room
• entering a house
• exterior of a modern house
• family room
• house of horrors
• house of peace
• house party
• housing bonds
• housing crisis
• medieval house
• Moving House
• Old wood floor
• opening curtains
• rural bungalow
• rustic house
• skull manor
• sustainable architecture
• viewing a house
• welcoming mat

After the drafty old mansion, we snuggled into that hug of a house and felt a once elusive sense of ease breeze in.

The house born of an architect's plan lived and breathed upon the rock, foundations perfectly sound, all set to stand for generations to come.

My house is a kaleidoscope of memories, of photographs adorning the walls, each of them conjuring the emotions of those sweet eternal moments.

My house has a bonny door that expresses itself brightly in all seasons, deeper in wintry days and vivid upon the coming of the summer sun.

My house has large arched windows. Through them light flows through all seasons, gracing the air without favour, illuminating the sweet-toffee browns of the wooden floor.

There is a song in the walls of the house that raises my spirits in quiet moments, when the wind becomes still air and it sounds as if the world has paused to take a moment to breathe. In those silent words, in the purity of its expression, I find my inner peace and realise that I am home.

The house was welcoming from the open door to the wide hallway. Upon the walls were the photographs of children, so obviously so loved. The floor was an old-fashioned parquet with a blend of deep homely browns and the walls were the greens of summer gardens meeting a bold white baseboard. The banister was a twirl of a branch, tamed by the carpenter's hand, it's grain flowing as water might, in waves of comforting woodland hues. Under the lamp-shine it was nature's art, something that soothed right to the soul.

This house is my home, where the laughter happens and I can rest at the end of the day. From the street it is bricks and mortar topped with tile, the same as any other. Yet if you step inside you'll feel it's so different, a place where the lungs choose to fill a little deeper and the heart beat a little steadier.

Those bricks were laid one at a time, perhaps on a fine spring day. I let my eyes wander the roughness and how each is so very straight. This house was made with love, that's for sure.

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57 Best Ways to Describe Buildings in Writing (+ Examples)

One of the key components of any setting is the buildings within it.

Knowing how to describe buildings can transport your reader right into the world you’ve built.

Here’s how to describe buildings in writing:

Describe buildings in writing by utilizing architectural style, historical periods, materials used, and their cultural significance. Incorporate sensory details like soundscapes and emotional resonance. Highlight unique features, transformations, legends, and personal memories for depth.

In this article, you’ll learn all the ways to describe buildings in your writing.

1. By Historical Period

Table of Contents

Different historical periods offer a plethora of architectural designs.

When you mention a building from the Renaissance era, the image of grandeur, classic designs, and meticulous details springs to mind.

Similarly, medieval structures might invoke images of castles and fortresses.

Some historical periods to consider are:

• Ancient : Pyramids, temples, and coliseums.
• Medieval : Castles, fortresses, and walled towns.
• Renaissance : Grand manors, theaters, and palaces.
• Victorian : Ornate houses, large estates, and townhouses.
• Modern : Skyscrapers, glass-fronted buildings, and minimalist designs.

2. By Material

The building material not only imparts a physical texture to a structure but also offers a tactile feeling to your narrative.

When we describe a structure made of sandstone, readers may visualize its ruggedness and the warmth of its golden-brown hue.

On the other hand, glass skyscrapers evoke modernity and offer a reflection (both literal and metaphorical) of the urban world.

Examples of materials :

• Brick : Often seen in traditional townhouses. Think of the classic brownstones of New York.
• Marble : Conjures images of opulent palaces or Greek temples.
• Wood : Wooden lodges or cabins evoke feelings of nature, simplicity, and coziness.
• Glass : Mostly seen in modern office buildings or high-rises, suggesting transparency and sleek design.

3. By Height

Height in buildings can be an implicit indication of many things, including the period in which it was built, its function, or the aspirations of its builders.

A towering skyscraper in a business district implies a beacon of commerce and ambition.

In contrast, a quaint, single-story cottage nestled in a village street whispers tales of simplicity and tradition.

The narrative contrast is stark between the dominance of a city’s tallest structure and the humble abode that clings to the ground, embodying a quiet, unassuming charm.

Both have stories to tell, and the tales are as different as the shadows they cast.

Every building, whether ancient or modern, stands as a silent witness to the passage of time.

When describing an old, moss-covered stone building, readers might imagine the countless seasons it has withstood, the generations it has seen, and the myriad stories embedded in its walls.

A newly constructed high-rise, with its shiny facade and contemporary design, hints at a world that’s rapidly evolving, racing towards the future.

It speaks of innovation, of fresh beginnings, and sometimes, of the relentless march of progress that leaves no room for the old.

5. By Function

A building’s function is its heartbeat. It dictates the rhythm of activities inside, the kind of people who frequent it, and the emotions it evokes.

A school, for instance, might resonate with the sounds of children’s laughter, the rustling of books, and the knowledge pursuits.

Examples of functions :

• Library : A sanctuary of silence, corridors filled with the musky scent of old books, and seekers of knowledge lost in its aisles.
• Factory : Buzzing with activity, and machinery noise, indicative of industry and production.
• Barn : Evoking rustic charm, the scent of hay, and the sounds of farm animals.
• Theater : A world of art, echoing with applause, dramatic performances, and cultural expressions.

6. By Atmosphere

More than its physical attributes, the atmosphere of a building defines its soul.

It’s the difference between a church’s hallowed silence, which commands reverence, and the bustling, lively cacophony of a market square teeming with life.

While the exterior might give a hint, it’s the interior atmosphere of a building that truly draws a reader in.

The interior offers them a seat in its world, whether that’s the tranquility of a remote mountain monastery or the energetic vibe of a downtown jazz club.

7. By Surroundings

Buildings don’t exist in isolation.

They’re part of a larger tableau. Describing the surroundings sets the stage.

A lone manor at the edge of a dark forest might evoke mystery and intrigue, while the same manor overlooking a serene lake offers tranquility.

Context, in essence, is a silent storyteller.

It provides clues about the building’s purpose, its history, and its relationship with its environment.

The quaint bookshop squeezed between two modern cafes speaks of resilience amidst change.

Just as a historic monument amidst skyscrapers stands as a reminder of the city’s rich past.

8. By Color

Colors are a palette of emotions.

Describing a building’s color is akin to painting its mood.

The pastel hues of a coastal villa might convey a laid-back, beachy vibe.

Meanwhile, the monochrome shades of an urban structure suggest sobriety and functionality.

Whether it’s the radiant gold of a palace under the sun, the deep blue of a nighttime diner, or the rusty red of an old barn, colors breathe life into descriptions, making them vivid and evocative.

Size can be both a physical measure and a psychological one.

A sprawling mansion, with its many rooms and vast lawns, can indicate grandeur and opulence.

On the other hand, a small, compact house might not be grand, but it could brim with warmth and coziness.

It’s about the space, its utilization, and the feeling it imparts.

Does the vastness of a castle make one feel lost, or does it evoke a sense of awe? Does the confined space of an attic room feel claustrophobic, or does it exude intimacy?

10. By Architectural Style

Every architectural style brings with it a set of aesthetics, principles, and histories.

A Gothic cathedral, with its pointed arches and intricate detailing, is more than just a place of worship

It’s a testament to a particular period of architectural achievement.

Examples of architectural styles :

• Art Deco : Think of the glamorous 1920s, with ornate details, bold geometric forms, and lavish materials.
• Brutalist : Characterized by raw, unadorned concrete structures, it often evokes strength and functionality.
• Colonial : Reminiscent of colonization eras, with large porches, brick facades, and symmetrical designs.
• Modernist : Simplified forms, open floor plans, and a strong emphasis on horizontal and vertical lines.

11. By Cultural Influences

Every culture has its distinct architectural imprints.

Buildings influenced by a specific culture bring with them a rich tapestry of history, traditions, and artistic nuances.

For instance, a pagoda-style temple immediately brings forth Asian influences, whereas a hacienda-style house could transport readers to the heart of Mexico.

A mosque, with its minarets piercing the sky, intricately designed domes, and calligraphy-laden interiors, speaks of Islamic artistry.

A Mediterranean villa with stucco walls and red-tiled roofs tells tales of sun-kissed coasts and leisurely lifestyles.

12. By State of Repair

The condition of a building can be a rich source of narrative information.

A dilapidated mansion covered in ivy, with broken windows and creaky doors, might hint at long-forgotten stories, neglect, or even hauntings.

In contrast, a well-maintained Victorian house, freshly painted with a manicured lawn, suggests pride, history cherished and sustained.

Structures in ruins, especially historic ones, often feel melancholic, reminding readers of the inexorable march of time.

Meanwhile, buildings under construction are beacons of progress, symbolizing hope, aspirations, and the future.

13. By Decorative Elements

Details matter.

An ornate balcony with wrought-iron railings, statues adorning entrances, or stained glass windows can offer readers visual treats and clues about a building’s history and the aesthetic preferences of its inhabitants or architects.

Examples of decorative elements :

• Gargoyles : Often found in Gothic structures, these stone creatures serve both decorative and architectural purposes.
• Frescoes : Painted walls or ceilings, common in Renaissance buildings, depict scenes or stories.
• Mosaics : Pieces of colored glass or stones arranged to form patterns or images, frequently found in Byzantine architecture.
• Columns : Pillars that might be Doric, Ionic, or Corinthian, each bringing a different historical and aesthetic layer.

14. By Lighting

Light, both natural and artificial, plays a significant role in setting the mood.

A cathedral bathed in the soft hues of sunlight filtering through stained glass windows offers a kaleidoscope of colors and emotions.

Conversely, an alleyway dimly lit by a lone lamp post might evoke feelings of solitude or mystery.

The glow of lanterns in an old inn or the harsh neon lights of a modern nightclub can drastically alter the way a building is perceived, grounding readers in a specific time or mood.

15. By Acoustics

Beyond the visual, what does a building sound like?

The echo of footsteps in a grand marble hall, the muffled sounds in a carpeted library, or the lively acoustics of a music hall can immerse readers deeper into the setting.

Acoustics can also serve as indicators.

Sound bouncing off the walls of an empty mansion might evoke feelings of loneliness or abandonment.

Buildings like opera houses or concert halls, specially designed for optimal acoustics, not only emphasize the significance of sound but also bear testimony to the architectural marvels dedicated to the art of sound.

16. By User Experience

How does one navigate or experience the building?

A labyrinthine palace with endless corridors and secret chambers can give a sense of mystery.

In contrast, an open-plan modern office emphasizes transparency and collaboration.

The ease or difficulty of navigating a space, the viewpoints offered by balconies or windows, and even the experience of ascending a grand staircase versus taking a modern elevator can offer readers insights into the building’s purpose and the era’s design principles.

17. By Integration with Nature

Some buildings seamlessly integrate with their natural surroundings, while others stand out.

A cottage with walls covered in ivy, almost hidden by the woods around it, offers a different narrative than a steel-and-glass structure stark against a forest backdrop.

Consider a treehouse that becomes one with the canopy or a desert abode designed for optimal cooling.

Either way, the relationship between a building and its environment can be a rich descriptor, highlighting harmony or discord.

18. By Innovations or Anachronisms

Certain structures stand out due to their innovative designs or features that are anachronistic for their time.

An ancient building with ahead-of-its-time water systems, or a futuristic house with solar integrations and smart tech in a traditional neighborhood, can be points of interest.

Such descriptions can surprise the reader, make them curious, or emphasize the uniqueness and significance of a structure.

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

They might represent power (like a king’s palace), spirituality (like a temple or church), knowledge (like a grand library), or even decay and decline (like ruins).

The symbolic weight of a building can add depth to its description and make it more resonant in the narrative.

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

Is it a famous landmark, a tourist magnet with crowds always milling about?

Or perhaps it’s a notorious structure, shunned by locals due to dark tales or unfortunate histories.

The public’s perception of a building, whether a beloved local bakery or a haunted mansion, can influence its role in the story and shape the readers’ attitudes towards it.

21. By Ornamentation and Artistry

Buildings can be embellished with diverse forms of ornamentation, from intricate carvings to frescoes.

This decor often reflects the cultural and historical contexts, as well as the individual tastes of its creators.

A building adorned with gargoyles and flying buttresses, for example, might point towards Gothic influences.

• Baroque Churches : Filled with lavish ornamentation, gilded statues, and dramatic frescoes.
• Indian Temples : Carved with intricate sculptures depicting gods, goddesses, and tales from epics.
• Art Nouveau Buildings : Characterized by sinuous lines, floral motifs, and harmonious curves.

22. By Patronage or Ownership

The patron or owner of a building can provide essential insights into its style, purpose, and decor.

Palaces built by powerful rulers often reflect their ambitions, tastes, or the political needs of their time.

On the other hand, structures erected by philanthropists might emphasize utility and public welfare.

• The Medici family in Renaissance Florence sponsored numerous buildings that became masterpieces of their era.
• The Rockefeller Center in New York, financed by the Rockefeller family, is a beacon of art deco design and urban planning.

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

Describing a building by its movement aligns it with specific philosophies, materials, and designs.

The minimalist, functional approach of the Bauhaus contrasts with the ornate designs of the Rococo.

• Bauhaus : Emphasizes functionality and eschews unnecessary ornamentation.
• Rococo : Known for its playful, whimsical, and intricate designs, often in pastel colors.

24. By Social and Economic Status

Buildings can often depict the socio-economic status of their inhabitants or the region they’re located in.

Mansions, penthouses, and gated communities often exude opulence.

In comparison, slums, tenements, and worker cottages might highlight poverty or the working-class struggles.

Examples: The elegant townhouses of London’s Belgravia versus the narrow, crowded lanes of Dharavi in Mumbai.

25. By Sensory Appeal

Beyond sight, buildings can be described by how they appeal to other senses.

The scent of aged wood in a historic home, the touch of cool marble underfoot in a palace, or the distant sounds echoing through a vast cathedral can make descriptions more immersive.

• The warm, inviting scent of freshly baked bread from a French bakery.
• The gentle, rhythmic tapping of rain on a tin-roofed cottage.

26. By Folklore or Legend

Some buildings are shrouded in myths, legends, or local tales.

A castle might be infamous for its ghostly residents, or a historic home might be revered as a hero’s birthplace.

Such tales add depth, intrigue, and cultural context.

• The legend of the Tower of London’s ravens, suggesting the kingdom’s fall if they ever leave.
• The lore surrounding Transylvania’s Bran Castle, often linked with the Dracula legend.

27. By Climate Adaptation

Buildings can be designed or modified to adapt to their climatic conditions.

A desert home might have thick walls to keep the interiors cool, while houses in tropical regions might feature wide verandas and high ceilings for ventilation.

• The igloos of the Arctic, built from blocks of snow.
• Traditional Arabian homes with wind towers for natural cooling.

28. By Relation to Other Structures

The juxtaposition of a building with its neighboring structures can offer rich contrasts or harmonies.

A medieval church beside a modern mall might highlight the city’s layered history or the interplay of the sacred and the commercial.

• The Flatiron Building in New York, with its unique triangular shape, set against the backdrop of modern skyscrapers.
• Rome’s Pantheon, an ancient temple, surrounded by renaissance buildings and modern cafes.

29. By Adaptive Reuse

Old structures might be repurposed for new functions, preserving their history while adapting to contemporary needs.

Warehouses transformed into lofts, churches turned into bookshops, or palaces renovated into hotels.

Transformations show the evolving narratives of buildings.

• The Tate Modern in London, once a power station.
• Book and Bed Hostels in Tokyo, combining bookshops with sleeping quarters.

30. By Emotional Resonance

How does a building make one feel?

Describing the emotional response it evokes can be more powerful than detailing its physical attributes.

A derelict asylum might exude eeriness, while a childhood home could evoke nostalgia.

• The somber, reflective atmosphere of the 9/11 Memorial.
• The joy and wonder of entering the whimsical world of Gaudí’s Casa Batlló in Barcelona.

31. By Historical Events

Many buildings carry the weight of significant historical events.

These events can cast a long shadow over the building’s atmosphere and its place in society.

For instance, a palace that was the site of a famous treaty signing or an assassination takes on the weight and significance of those events, shaping how one views and describes it.

The mere mention of such a building might evoke a vivid picture in the reader’s mind, filled with the drama and emotion of the past.

• The Palace of Versailles in France, which witnessed numerous royal dramas and the signing of the Treaty of Versailles.
• Ford’s Theatre in Washington D.C., forever remembered as the assassination site of President Abraham Lincoln.

32. By Foundation

The foundation of a building is its bedrock, dictating its stability, longevity, and sometimes even its aesthetic appeal.

It speaks volumes about the building’s resilience, design intentions, and the environment it’s in.

Different terrains require different types of foundations.

A building’s foundation can indicate whether it’s designed to withstand earthquakes, floods, or other environmental factors.

• Stilt homes in flood-prone areas, raised above ground level, showcase the adaptation to the local environment.
• Buildings in earthquake-prone regions like Japan might have deep foundations and reinforced pillars to absorb shocks.

33. By Roof

Roofs provide shelter but also contribute to a building’s identity.

They often serve as an architectural highlight or adaptation to the climate of a region.

A roof can be symbolic of a region’s architectural history or a practical response to weather conditions. It can be decorative or functional, or both.

• The distinct pagoda-style roofs in ancient Chinese architecture, with their upturned eaves.
• Thatched roofs of English cottages, providing insulation and showcasing a rustic charm.

34. By Landscape Integration

How a building integrates or stands out from its surrounding landscape can be a focal point of description.

A mansion atop a hill overlooking a town tells a story of dominance or isolation, while a camouflaged cabin in the woods speaks of retreat and harmony with nature.

• Machu Picchu in Peru, a stone city seamlessly integrated into the mountainous terrain.
• Cliffside dwellings like the Hanging Temple in China, defying gravity and blending with the vertical landscape.

35. By Socio-political Context

Architecture often mirrors the socio-political climate of its time.

Structures built during totalitarian regimes might exude power and intimidation, while those from a renaissance period might reflect hope, curiosity, and the human spirit.

Describing buildings within this context can enhance the depth of a story, setting the stage for the characters’ challenges and triumphs.

• The grandeur of Stalinist architecture, like the Seven Sisters in Moscow, representing power and state dominance.
• The democratic openness of city halls and public squares in many European cities, symbolizing public participation and freedom.

36. By Architectural Philosophy

Some buildings are constructed based on specific architectural philosophies or principles.

Perhaps the Japanese philosophy of “Wabi-sabi” celebrating imperfection or the Modernist mantra “form follows function.”

These guiding principles can be a unique way to delve into the building’s essence.

• Fallingwater by Frank Lloyd Wright, embodying the philosophy of organic architecture.
• The grid-like simplicity of De Stijl architecture , as seen in Rietveld Schröder House.

37. By Spiritual or Religious Significance

Many structures are steeped in spiritual or religious significance, making them more than just brick and mortar.

Temples, churches, mosques, and other religious edifices often come loaded with symbolic elements, rituals, and an aura of reverence.

• The Notre-Dame Cathedral i n Paris, with its Gothic spires, rose windows, and religious relics.
• The intricately carved Jain temples of India, representing non-violence and respect for all living beings.

38. By Reflection of the Times

Architecture can be a mirror to the prevalent trends, technology, and societal values of its era.

A post-war building might carry elements of resilience and simplicity.

Structures from a prosperous era might, instead, exude opulence and flamboyance.

• Art Deco buildings of the Roaring Twenties, like the Chrysler Building in New York, symbolizing prosperity and technological progress.
• The austere, functional buildings of post-World War II Europe, reflecting the continent’s recovery phase.

39. By Personal Stories and Anecdotes

Every building might have personal stories or anecdotes linked to it.

These tales, whether of love, tragedy, triumph, or everyday life, can turn a mundane structure into something special.

A house might be remembered for the family feuds it witnessed, or a bridge might be iconic for a legendary love story.

• The Romeo and Juliet balcony in Verona, believed to be the site of the famous Shakespearean love story.
• The childhood homes of famous personalities, like Mozart’s Geburtshaus in Salzburg, which tells tales of prodigious talent and early beginnings.

40. By Flooring

Flooring can reflect the luxury, practicality, or cultural elements of a building.

It plays a significant role in interior aesthetics and user comfort.

The choice of flooring material, its texture, and design can say a lot about the purpose of a room and the building’s overall theme.

• Design: The intricately designed marble floors of palaces, indicating opulence and grandeur.
• Material: Bamboo or tatami mat flooring in traditional Japanese homes, bringing forth an essence of simplicity and nature.

41. By Urban vs. Rural Setting

The setting of a building, whether in a bustling urban environment or a serene rural backdrop, affects its architecture, materials used, and its overall ambiance.

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

• The compact, upward-stretching skyscrapers of Manhattan versus the sprawling ranches of Montana.
• Ancient European farmhouses nestled in valleys versus modern urban apartments with their balconies facing busy streets.

42. By Ecological Impact

With the rising emphasis on sustainability, many buildings are now designed with their ecological footprint in mind.

Consider green roofs and walls to structures entirely powered by renewable energy.

There’s a growing trend towards eco-friendly architecture.

• The Bullitt Center in Seattle is called the world’s most eco-friendly office building.
• Ancient cliff dwellings, which utilized natural rock formations to maintain interior temperatures and minimize impact on the environment.

43. By Underground Space

A building’s underground space can reveal hidden functions, histories, or layers of utility that aren’t immediately visible on the surface.

Basements, cellars, underground bunkers, or parking spaces can add layers of mystery, function, or historical depth.

• Ancient catacombs or crypts beneath churches, like the Catacombs of Paris, harboring history and tales of the departed.
• Modern skyscrapers with multiple levels of underground parking and utility spaces, showcasing urban space optimization.

44. By Human Interaction

How people interact with a building can be a powerful descriptor.

Are its halls always crowded?

Do children play in its courtyards? Is it a place of solitude or social interaction?

Such descriptions bring the building to life, emphasizing its role in the community.

• The lively bustle of Grand Central Terminal in New York, with commuters rushing, tourists marveling, and couples reuniting.
• The tranquil corridors of monasteries, where the only sounds might be the soft footsteps of monks.

45. By Technological Advancements

In the modern age, buildings can be described by the technology they incorporate.

Smart homes, buildings with integrated AI systems, or structures with advanced security systems reflect the advancements of the age.

• The Edge in Amsterdam, touted as the world’s smartest building, where even the coffee machines are connected to the internet.
• Historical aqueducts and water systems, showcasing the engineering prowess of ancient civilizations.

46. By Adaptability and Flexibility

Some buildings are designed to be adaptable to different needs over time.

These structures might have movable walls, transformable spaces, or modular designs that can evolve with changing requirements.

• The Habitat 67 complex in Montreal, where prefabricated modules can be reconfigured.
• Japanese homes designed with large open spaces that can serve multiple purposes, from living rooms in the day to sleeping areas at night.

47. By Fragrance and Aroma

Though subtle, the distinctive smells associated with certain buildings can paint a vivid picture.

A library’s musty scent, the fresh aroma from a bakery, or the mix of incense in a temple can transport the reader to the location instantly.

• The cedarwood fragrance permeating ancient temples in Kyoto.
• The unmistakable scent of chlorine in indoor swimming complexes.

48. By Security Features

Security features can provide insights into the importance, vulnerability, or the treasures a building holds.

It can also reflect the socio-political environment of the locale.

A building heavily fortified indicates its importance or the potential threats it might face, whereas minimal security might indicate peace, openness, or a lack of valuable contents.

• The Buckingham Palace with its guards, high walls, and surveillance systems, highlighting the importance and the need to protect the monarchy.
• A quiet, open-plan library in a small town, with just CCTV cameras, showcases the trust in the community and the open access to knowledge.

49. By Mystique and Legends

Every region has its tales, its myths, and sometimes these stories are intrinsically tied to certain structures.

A haunted house, a castle rumored to have hidden treasures, or an inn with tales of historical figures stopping by can add a layer of mystique and depth to the description.

• The Tower of London, with its many ghostly tales including that of Anne Boleyn.
• Château de Brissac in France, also known as the “Giant of the Loire Valley,” renowned for its ghost, “la Dame Verte” or the Green Lady.

50. By Seasons and Weather

The way a building interacts with different seasons can be enchanting.

How it stands resilient during winter storms, becomes enlivened by spring blossoms, offers shade in summer, or is framed by autumn leaves can bring a dynamic quality to descriptions.

• Neuschwanstein Castle in Germany, often pictured blanketed in winter snow, looking like a fairy-tale come alive.
• Traditional Japanese homes with engawas (verandas) designed to appreciate seasonal changes, especially the sakura bloom in spring.

51. By Movement and Dynamics

While buildings are inherently static, the environment around them isn’t.

Describe how shadows move across a structure during the day, how it appears through the mist, or how its reflection dances on water.

These details can capture a building’s dynamic interplay with the environment.

• The play of sunset hues on Petra’s Al-Khazneh in Jordan, making the ancient rose-red city look aflame.
• The Marina Bay Sands hotel in Singapore, with its surrealistic appearance as it reflects on the bay waters.

52. By Proportions and Geometry

A building’s proportions, symmetry, or lack thereof, and its geometrical design elements can serve as potent descriptors.

They can convey balance, chaos, grandeur, or coziness, depending on the design.

• The perfectly symmetrical facade of the Taj Mahal in India, representing balance and beauty.
• The twisted and unconventional design of the Dancing House in Prague, which challenges traditional architectural norms.

53. By Hidden or Secret Elements

Every building might have its hidden nooks, secret passages, or lesser-known elements.

Describing these can add an element of intrigue and adventure to the narrative.

• The hidden chambers and passageways of Hampton Court Palace in England.
• The concealed courtyards of Marrakech’s riads, which offer an oasis of calm in the midst of the city’s hustle.

54. By Time of Day

The time of day can drastically change how a building is perceived.

Dawn might cast a soft golden glow, midday could highlight the structure’s magnificence under bright light.

Dusk might lend a serene hue, while nighttime could unveil a structure illuminated in artificial lights.

• Eiffel Tower in Paris, which transforms from an iron lattice structure in the day to a sparkling jewel at night.
• Ancient ruins like Stonehenge, which take on a mystical aura during the solstice sunrise.

55. By Parking

Parking can offer a unique perspective on the accessibility, modernity, and practical aspects of a building.

A skyscraper might have a multi-level underground parking facility, while a countryside inn might just have a gravel lot.

The type and style of parking can shed light on the type of people frequenting the building and its location.

Parking is a functional aspect that often gets overlooked.

Yet, it can provide insights into the modern infrastructure and the building’s capacity to accommodate visitors.

• The Burj Khalifa in Dubai, known for its expansive parking decks, indicative of the structure’s modernity and the bustling crowd it attracts.
• A centuries-old church in a European town, with only a cobblestone path leading up to it and no dedicated parking, emphasizing its age and the pedestrian nature of the locale.

56. By What Is Missing

Sometimes, what a building lacks can be as telling as what it includes.

The absence of certain features can highlight its history, purpose, or the socio-economic conditions of its residents.

Absence can be telling. A building missing windows might suggest a need for defense or privacy in historical times.

Lack of modern amenities might indicate either a commitment to maintaining historical authenticity or a lack of resources.

• Castles like the Alhambra in Spain, where certain decorative elements are conspicuously absent due to religious beliefs of the Moors.
• An old house in a rural village, devoid of any electronic fixtures or modern plumbing, hinting at a simpler time or economic constraints.

57. By Literary Genre

Buildings can be described in a style reminiscent of different literary genres.

A haunted house might be described in a gothic or horror style, a futuristic building in a sci-fi manner, or an old mansion in a romantic or historic style.

Literary genres come with their own set of conventions, moods, and themes.

Utilizing these can offer a distinctive lens through which to view and describe a building, thereby setting a tone that aligns with the narrative’s intent.

• An abandoned asylum, its corridors echoing with eerie silences and shadows, drawing from horror literature.
• A building with sleek curves, neon-lit facades, and hovering platforms, reminiscent of science fiction settings like Blade Runner.

50 Words to Describe Buildings

Here is a list of words to describe buildings in your stories, reports, product profiles, and more:

• Dilapidated
• Minimalistic
• Symmetrical
• Breathtaking
• Picturesque
• Verdant (if covered with plants)
• Cobblestoned
• Flourishing

25 Phrases to Describe Buildings

Next, let’s look at some of the best “starter” phrases to use when you need to describe buildings in writing.

• Standing tall against the horizon
• Whispers of bygone eras
• A beacon of modernity
• The touch of nature’s embrace
• Frozen in time
• A dance of shadows and light
• Bearing the weight of history
• A testament to innovation
• Merging tradition and modernity
• Clinging to its past
• Resilient against the elements
• Melting pot of architectural styles
• Crafted with meticulous precision
• Heralding a new age
• Cradled in the lap of nature
• Drawing eyes skyward
• Seamlessly blending with its surroundings
• Shrouded in tales and mysteries
• Rising like a phoenix
• A canvas of artistic expression
• Carved with legends
• Keeping pace with the future
• Holding the stories of centuries
• Echoing the footsteps of the past
• A juxtaposition of epochs

Check out this video about how to describe buildings in writing:

Three Full Building Descriptions

I don’t know about you but I love to see full examples – especially when it comes to writing tips and techniques.

Therefore, here are three examples for how to describe buildings in writing.

The Old Manor House

Nestled on the outskirts of the town, the Old Manor House stands as a silent sentinel of the past.

Its weathered stone walls and time-worn wooden beams whisper tales of bygone eras. The structure, with its vast corridors and winding staircases, holds an enigmatic charm. Ivy covers much of its facade, lending it a verdant embrace.

The large, towering oak trees around it act as guardians, their branches swaying gently with the wind.

Here, every creak of the floorboard and rustle of the leaves seems to echo with stories waiting to be discovered.

Pinnacle Tower

Rising above the bustling city is the Pinnacle Tower, a beacon of modernity.

Its sleek, reflective glass surface mirrors the ever-changing skyline. As the sun sets, the tower transforms into a luminous gem, its lights dancing amidst the city’s constellation. Designed with innovative architecture, it stands not just as a workplace but a testament to human achievement and the possibilities of the future.

Its top floor offers a panoramic view, making the chaotic streets below seem like a rhythmic, orchestrated play.

Lilac Cottage

Tucked away in a quiet lane, the Lilac Cottage is the epitome of quaint charm.

With its cobblestoned pathway leading to a blue wooden door, and windows framed by blooming flower boxes, the cottage seems straight out of a storybook. The white picket fence and the small garden, bursting with colors, add to its picturesque beauty.

Inside, the intimate space, with its wooden furniture and lace curtains, radiates warmth and comfort.

The scent of freshly baked bread wafts from the kitchen, promising a sanctuary of homely delights.

Final Thoughts: How to Describe Buildings in Writing

Each building has stories etched into its walls, stories of the hands that built it, the eras it survived, and the people who occupied it.

By employing diverse descriptive techniques, writers can unearth and convey these tales, making structures more than just static edifices.

We have lots of other articles about how to describe people, places, and things in writing.

Check out a few of the others before you go :).

Related Posts:

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

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How to Describe a Mansion in a Story

By Rebecca Parpworth-Reynolds

In this post, we share 10 words you can use to write a mansion in your book. Are you ready to get into the details of how to describe a mansion in a story? Read on!

1. Excessive

“The excessive mansion had so many rooms that it felt like a maze, and the grand ballroom could easily fit an entire football stadium.”

“The amount of gold and marble that adorned the mansion would be seen by many as rather excessive .”

How it Adds Description

Often, mansions can be seen as status symbols of wealth, and as a result, can often be decorated to the extreme with luxury materials and additions. Although some might enjoy this display, others may disapprove, and see it as “excessive”.

2. Expansive

Covering a large area.

“The expansive mansion was a stunning sight to behold, with its towering columns, sweeping staircase, and numerous balconies overlooking the rolling hills.”

“The mansion was so expansive that guests had to charter golf carts to get from one side to the other.”

A mansion is described as “expansive” to emphasize its vastness and size. The mansion is not just large, but it also defies expectations of its size, helping to create a sense of awe and admiration in the reader’s mind.

Impressive and large in size.

“The grand mansion’s intricate architecture, elegant chandeliers, and ornate furnishings exuded an air of sophistication that left visitors in awe.”

“The mansion’s grand entrance with its sweeping staircase, high ceilings, and intricate details gave a sense of majesty and splendor that was fit for royalty.”

Mansions are usually large, awe-inspiring spaces. As a result, you may wish to refer to a room within the mansion, or indeed the mansion as a whole as being “grand”. The word also brings up ideas of status, helping your reader to get a picture of the people who might live there before they even turn up in your story.

4. Luxurious

Comfortable and expensive.

“The luxurious mansion’s expansive marble floors, high-end appliances, and state-of-the-art home theater system were just a few of the amenities that he could simply not live without.”

“The piece de resistance was the mansion’s luxurious master suite, complete with a private balcony overlooking the ocean, a Jacuzzi tub, and a massive walk-in closet.”

Mansions are usually kitted out so that those that live in them can do so in absolute comfort and with every convenience at their disposal. These “luxurious” residences can also help you to be able to create a contrast between the mansion in your story and your everyday home.

Expensive and luxurious.

“The opulent mansion, with its manicured gardens and imposing entryway was the epitome of an exclusive lifestyle that he would never be able to afford.”

“The opulent mansion’s decadent decor, from the imported marble floors and walls to the ornate hand-carved woodwork and gilded accents, was a testament to the owner’s extravagant tastes.”

Mansions are well and truly “opulent”, usually containing many bespoke items, designs, and items that others would never dream of being able to afford. This level of living often leaves those living in them to seem out of touch with the real world to your reader.

6. Ostentatious

An obvious display of wealth or power designed to attract the attention of others.

“The ostentatious mansion’s garish gold-plated fixtures, neon-lit fountains, and over-the-top interior design screamed of tackiness and excess, rather than sophistication and refinement.”

“Compared to the other, sleek and sophisticated mansions on the street, this one stood out ostentatiously as if it needed to one-up its neighbors at all costs.”

Not all displays of wealth are classy. Sometimes mansions can be made to be “ostentatious” by their owners. This can then leave your reader questioning why the homeowners wish to openly show their wealth in such a way, whether it is insecurity or another reason under the surface.

7. Palatial

• Large and beautiful .
• Like a palace.

“The palatial mansion’s sprawling estate, with its numerous guest houses, horse stables, and tennis courts, was fit for a king.”

“The palatial entrance hall of the mansion made her feel as if she had stepped into some sort of fairy tale.”

Some mansions can be so large or so decadent in the way that they are decorated, that they are almost like royal palaces! Help your reader to understand the grandeur of the surroundings that your characters find themselves in by describing it as “palatial”.

8. Spacious

Having a lot of space .

“The mansion’s spacious living areas, including multiple sitting rooms, a grand formal dining room, and a sprawling chef’s kitchen, provided ample room for hosting large gatherings and entertaining guests in style.”

“The mansion’s spacious bedrooms were almost like standalone apartments, offering everything the guests could need without even needing to leave their quarters.”

Describing a mansion as “spacious” in your story not only helps to illustrate how large it is, but how open and airy it is even though it has everything one could ever need inside. This space could also help those inside to feel lonely or alone, as they may be far away from people who are still in the same building as them due to the sheer expanse.

Formal in style and appearance.

“The stately mansion’s impressive facade, with its towering columns, intricate stone carvings, and regal symmetry, was a testament to its timeless elegance and grandeur.”

“The stately mansion’s expansive grounds, featuring a sweeping driveway, manicured lawns, and mature trees, exuded an aura of refinement and exclusivity, setting the stage for the impressive home that lay beyond.”

If your mansion has a lot of history and reputation behind it, you may wish to describe it as “stately”. This suggests that the mansion is more than just a large and luxurious home: it’s a property that exudes a certain sense of authority, tradition, and respectability, usually mirroring its owners.

10. Statement

Something that has been explicitly designed to be noticeable and stylish.

“The mansion was built not only as a home but as a statement of wealth, power, and status.”

“The grandiose design of the mansion was a clear statement of its owner’s taste for opulence and extravagance.”

Mansions aren’t usually built for no reason, and are usually made in order to say something. As a result, they become not just buildings, but “statements” of power, status, and even the character and personality of their owners. What “statement” the mansion in your story offers to your reader and your characters is up to you!

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AD Classics: Melnikov House / Konstantin Melnikov

• Written by Tim Winstanley

• Architects: Konstantin Melnikov
• Year Completion year of this architecture project Year:  1929
• Photographs Photographs: Denis Esakov , Stefanos Christodoulides , Will Webster

Text description provided by the architects. The Melnikov House by architect Konstantin Melnikov is a classic residence that represents the forefront of the 1920’s Russian avant-garde. Located on Krivoarbatsky Lane in the then trendy district of Arbat, Moscow on an open lot, its aesthetics differ dramatically from traditional Soviet residential architecture. More details after the break.

Trained at the Moscow School of Painting, Sculpture, and Architecture, his expressionistic approach to design was the source of much acclaim in his short-lived career as an architect. The majority of his work was constructed between 1923 and 1933, of which his personal residence is arguably his best and most innovative work. Melnikov was one of only a few people who had been able to retain their land following the fall of Lenin’s New Economic Policy. Even more surprising is the approval of his design by city planners, as it was completely unconventional in an era when uniformity was the de facto solution.

The concept evolved from his schematic draft for the Zuev Workers Club. It features two interlocking cylindrical volumes standing three stories high with enough space to house his family, and his painting and architectural studio spaces.

During the time of construction, significant rationing of materials by the state was commonplace. Thus, Melnikov incorporated an efficient typology for constructing the structure with limited resources, whilst simultaneously allowing him the opportunity to carry out his creative vision. Reasoning for the cylindrical shape was founded in his belief that they provided for an economy of material. The first cylindrical volume sitting slightly lower in height than the rear cylinder faces the street and features a glazed curtain wall incorporating the main entry. Located in the rear is the iconic portion of the house with numerous hexagonal windows perforating the façade. Exterior walls finished with white plaster are constructed in a honeycomb latticework using local brick, similar to the method pioneered by Vladimir Shukhov in 1896 using metal. This method employed minimal material while ensuring an efficient and rigid structure. The shapes of the windows are a direct result of the honeycomb structure, with the angles determined by quarter lengths of the standard local bricks. 

Nearly 60 hexagonal windows employing nine types of frames establish the aesthetic quality of the rear cylinder, showering the interior with light. The manner of structure and glazing system employed also eliminated the need for structural lintels or sills. Voids that were not glazed in the honeycomb structure were filled with clay and scraps, adding mass to a wall system that helps to mitigate the extreme temperature differentials of summer and winter. Interior spaces are allowed to run the full diameter uninterrupted, as the exterior walls function as the load bearing members. Melnikov also employed an innovative technique for a self-reinforcing orthotropic wooden plank flooring system, absentee of any internal column support.

Interior layout functions efficiently, with the majority of living spaces such as kitchen and bathroom located on the main floor. An upward spiral of movement exposes the diversity of spaces from low height ground plane, to a double height studio space and rooftop terrace. A winding staircase leads to the second floor where the bedrooms and living room are located. Interestingly, the bedrooms located in the rear portion are not entirely separated from each other. Rather, Melnikov delineates space through partial walls that serve to define specific areas, while maintaining a quasi-open plan that allows sunlight to flood the interior. 

The third floor houses his studio space in a double height room in the rear cylinder. Visually distinct from the others, this double height space is embraced by light penetrating through the numerous hexagonal windows. This space defines and lends credence to his ability to create experiential spaces that employ non-materials – light and shadow – in the overall design.

Unfortunately for Konstantin, his right to practice architecture was denied in 1937 at the First All-Union Congress of Soviet Architects. However, his residence remains an iconic symbol of the Russian avant-garde with its original floor plan and innovative construction techniques.

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Home Numéros 59 1 - Tisser les liens : voyager, e... 36 Views of Moscow Mountain: Teac...

36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau

L'auteur américain Henry David Thoreau est un écrivain du voyage qui a rarement quitté sa ville natale de Concorde, Massachusetts, où il a vécu de 1817 à 1862. Son approche du "voyage" consiste à accorder une profonde attention à son environnement ordinaire et à voir le monde à partir de perspectives multiples, comme il l'explique avec subtilité dans Walden (1854). Inspiré par Thoreau et par la célèbre série de gravures du peintre d'estampes japonais Katsushika Hokusai, intitulée 36 vues du Mt. Fuji (1830-32), j'ai fait un cours sur "L'écriture thoreauvienne du voyage" à l'Université de l'Idaho, que j'appelle 36 vues des montagnes de Moscow: ou, Faire un grand voyage — l'esprit et le carnet ouvert — dans un petit lieu . Cet article explore la philosophie et les stratégies pédagogiques de ce cours, qui tente de partager avec les étudiants les vertus d'un regard neuf sur le monde, avec les yeux vraiment ouverts, avec le regard d'un voyageur, en "faisant un grand voyage" à Moscow, Idaho. Les étudiants affinent aussi leurs compétences d'écriture et apprennent les traditions littéraires et artistiques associées au voyage et au sens du lieu.

Index terms

Keywords: , designing a writing class to foster engagement.

1 The signs at the edge of town say, "Entering Moscow, Idaho. Population 25,060." This is a small hamlet in the midst of a sea of rolling hills, where farmers grow varieties of wheat, lentils, peas, and garbanzo beans, irrigated by natural rainfall. Although the town of Moscow has a somewhat cosmopolitan feel because of the presence of the University of Idaho (with its 13,000 students and a few thousand faculty and staff members), elegant restaurants, several bookstores and music stores, and a patchwork of artsy coffee shops on Main Street, the entire mini-metropolis has only about a dozen traffic lights and a single high school. As a professor of creative writing and the environmental humanities at the university, I have long been interested in finding ways to give special focuses to my writing and literature classes that will help my students think about the circumstances of their own lives and find not only academic meaning but personal significance in our subjects. I have recently taught graduate writing workshops on such themes as "The Body" and "Crisis," but when I was given the opportunity recently to teach an undergraduate writing class on Personal and Exploratory Writing, I decided to choose a focus that would bring me—and my students—back to one of the writers who has long been of central interest to me: Henry David Thoreau.

2 One of the courses I have routinely taught during the past six years is Environmental Writing, an undergraduate class that I offer as part of the university's Semester in the Wild Program, a unique undergraduate opportunity that sends a small group of students to study five courses (Ecology, Environmental History, Environmental Writing, Outdoor Leadership and Wilderness Survival, and Wilderness Management and Policy) at a remote research station located in the middle of the largest wilderness area (the Frank Church River of No Return Wilderness) in the United States south of Alaska. In "Teaching with Wolves," a recent article about the Semester in the Wild Program, I explained that my goal in the Environmental Writing class is to help the students "synthesize their experience in the wilderness with the content of the various classes" and "to think ahead to their professional lives and their lives as engaged citizens, for which critical thinking and communication skills are so important" (325). A foundational text for the Environmental Writing class is a selection from Thoreau's personal journal, specifically the entries he made October 1-20, 1853, which I collected in the 1993 writing textbook Being in the World: An Environmental Reader for Writers . I ask the students in the Semester in the Wild Program to deeply immerse themselves in Thoreau's precise and colorful descriptions of the physical world that is immediately present to him and, in turn, to engage with their immediate encounters with the world in their wilderness location. Thoreau's entries read like this:

Oct. 4. The maples are reddening, and birches yellowing. The mouse-ear in the shade in the middle of the day, so hoary, looks as if the frost still lay on it. Well it wears the frost. Bumblebees are on the Aster undulates , and gnats are dancing in the air. Oct. 5. The howling of the wind about the house just before a storm to-night sounds extremely like a loon on the pond. How fit! Oct. 6 and 7. Windy. Elms bare. (372)

3 In thinking ahead to my class on Personal and Exploratory Writing, which would be offered on the main campus of the University of Idaho in the fall semester of 2018, I wanted to find a topic that would instill in my students the Thoreauvian spirit of visceral engagement with the world, engagement on the physical, emotional, and philosophical levels, while still allowing my students to remain in the city and live their regular lives as students. It occurred to me that part of what makes Thoreau's journal, which he maintained almost daily from 1837 (when he was twenty years old) to 1861 (just a year before his death), such a rich and elegant work is his sense of being a traveler, even when not traveling geographically.

Traveling a Good Deal in Moscow

I have traveled a good deal in Concord…. --Henry David Thoreau, Walden (1854; 4)

4 For Thoreau, one did not need to travel a substantial physical distance in order to be a traveler, in order to bring a traveler's frame of mind to daily experience. His most famous book, Walden , is well known as an account of the author's ideas and daily experiments in simple living during the two years, two months, and two days (July 4, 1845, to September 6, 1847) he spent inhabiting a simple wooden house that he built on the shore of Walden Pond, a small lake to the west of Boston, Massachusetts. Walden Pond is not a remote location—it is not out in the wilderness. It is on the edge of a small village, much like Moscow, Idaho. The concept of "traveling a good deal in Concord" is a kind of philosophical and psychological riddle. What does it mean to travel extensively in such a small place? The answer to this question is meaningful not only to teachers hoping to design writing classes in the spirit of Thoreau but to all who are interested in travel as an experience and in the literary genre of travel writing.

5 Much of Walden is an exercise in deftly establishing a playful and intellectually challenging system of synonyms, an array of words—"economy," "deliberateness," "simplicity," "dawn," "awakening," "higher laws," etc.—that all add up to powerful probing of what it means to live a mindful and attentive life in the world. "Travel" serves as a key, if subtle, metaphor for the mindful life—it is a metaphor and also, in a sense, a clue: if we can achieve the traveler's perspective without going far afield, then we might accomplish a kind of enlightenment. Thoreau's interest in mindfulness becomes clear in chapter two of Walden , "Where I Lived, and What I Lived For," in which he writes, "Morning is when I am awake and there is a dawn in me. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?" The latter question implies the author's feeling that he is himself merely evolving as an awakened individual, not yet fully awake, or mindful, in his efforts to live "a poetic or divine life" (90). Thoreau proceeds to assert that "We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn…. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor" (90). Just what this endeavor might be is not immediately spelled out in the text, but the author does quickly point out the value of focusing on only a few activities or ideas at a time, so as not to let our lives be "frittered away by detail." He writes: "Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; … and keep your accounts on your thumb nail" (91). The strong emphasis in the crucial second chapter of Walden is on the importance of waking up and living deliberately through a conscious effort to engage in particular activities that support such awakening. It occurs to me that "travel," or simply making one's way through town with the mindset of a traveler, could be one of these activities.

6 It is in the final chapter of the book, titled "Conclusion," that Thoreau makes clear the relationship between travel and living an attentive life. He begins the chapter by cataloguing the various physical locales throughout North America or around the world to which one might travel—Canada, Ohio, Colorado, and even Tierra del Fuego. But Thoreau states: "Our voyaging is only great-circle sailing, and the doctors prescribe for diseases of the skin merely. One hastens to Southern Africa to chase the giraffe; but surely that is not the game he would be after." What comes next is brief quotation from the seventeenth-century English poet William Habbington (but presented anonymously in Thoreau's text), which might be one of the most significant passages in the entire book:

Direct your eye sight inward, and you'll find A thousand regions in your mind Yet undiscovered. Travel them, and be Expert in home-cosmography. (320)

7 This admonition to travel the mysterious territory of one's own mind and master the strange cosmos of the self is actually a challenge to the reader—and probably to the author himself—to focus on self-reflection and small-scale, local movement as if such activities were akin to exploration on a grand, planetary scale. What is really at issue here is not the physical distance of one's journey, but the mental flexibility of one's approach to the world, one's ability to look at the world with a fresh, estranged point of view. Soon after his discussion of the virtues of interior travel, Thoreau explains why he left his simple home at Walden Pond after a few years of experimental living there, writing, "It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves" (323). In other words, no matter what we're doing in life, we can fall into a "beaten track" if we're not careful, thus failing to stay "awake."

8 As I thought about my writing class at the University of Idaho, I wondered how I might design a series of readings and writing exercises for university students that would somehow emulate the Thoreauvian objective of achieving ultra-mindfulness in a local environment. One of the greatest challenges in designing such a class is the fact that it took Thoreau himself many years to develop an attentiveness to his environment and his own emotional rhythms and an efficiency of expression that would enable him to describe such travel-without-travel, and I would have only sixteen weeks to achieve this with my own students. The first task, I decided, was to invite my students into the essential philosophical stance of the class, and I did this by asking my students to read the opening chapter of Walden ("Economy") in which he talks about traveling "a good deal" in his small New England village as well as the second chapter and the conclusion, which reveal the author's enthusiasm (some might even say obsession ) for trying to achieve an awakened condition and which, in the end, suggest that waking up to the meaning of one's life in the world might be best accomplished by attempting the paradoxical feat of becoming "expert in home-cosmography." As I stated it among the objectives for my course titled 36 Views of Moscow Mountain: Or, Traveling a Good Deal—with Open Minds and Notebooks—in a Small Place , one of our goals together (along with practicing nonfiction writing skills and learning about the genre of travel writing) would be to "Cultivate a ‘Thoreauvian' way of appreciating the subtleties of the ordinary world."

Windy. Elms Bare.

9 For me, the elegance and heightened sensitivity of Thoreau's engagement with place is most movingly exemplified in his journal, especially in the 1850s after he's mastered the art of observation and nuanced, efficient description of specific natural phenomena and environmental conditions. His early entries in the journal are abstract mini-essays on such topics as truth, beauty, and "The Poet," but over time the journal notations become so immersed in the direct experience of the more-than-human world, in daily sensory experiences, that the pronoun "I" even drops out of many of these records. Lawrence Buell aptly describes this Thoreauvian mode of expression as "self-relinquishment" (156) in his 1995 book The Environmental Imagination , suggesting such writing "question[s] the authority of the superintending consciousness. As such, it opens up the prospect of a thoroughgoing perceptual breakthrough, suggesting the possibility of a more ecocentric state of being than most of us have dreamed of" (144-45). By the time Thoreau wrote "Windy. Elms bare" (372) as his single entry for October 6 and 7, 1853, he had entered what we might call an "ecocentric zone of consciousness" in his work, attaining the ability to channel his complex perceptions of season change (including meteorology and botany and even his own emotional state) into brief, evocative prose.

10 I certainly do not expect my students to be able to do such writing after only a brief introduction to the course and to Thoreau's own methods of journal writing, but after laying the foundation of the Thoreauvian philosophy of nearby travel and explaining to my students what I call the "building blocks of the personal essay" (description, narration, and exposition), I ask them to engage in a preliminary journal-writing exercise that involves preparing five journal entries, each "a paragraph or two in length," that offer detailed physical descriptions of ordinary phenomena from their lives (plants, birds, buildings, street signs, people, food, etc.), emphasizing shape, color, movement or change, shadow, and sometimes sound, smell, taste, and/or touch. The goal of the journal entries, I tell the students, is to begin to get them thinking about close observation, vivid descriptive language, and the potential to give their later essays in the class an effective texture by balancing more abstract information and ideas with evocative descriptive passages and storytelling.

11 I am currently teaching this class, and I am writing this article in early September, as we are entering the fourth week of the semester. The students have just completed the journal-writing exercise and are now preparing to write the first of five brief essays on different aspects of Moscow that will eventually be braided together, as discrete sections of the longer piece, into a full-scale literary essay about Moscow, Idaho, from the perspective of a traveler. For the journal exercise, my students wrote some rather remarkable descriptive statements, which I think bodes well for their upcoming work. One student, Elizabeth Isakson, wrote stunning journal descriptions of a cup of coffee, her own feet, a lemon, a basil leaf, and a patch of grass. For instance, she wrote:

Steaming hot liquid poured into a mug. No cream, just black. Yet it appears the same brown as excretion. The texture tells another story with meniscus that fades from clear to gold and again brown. The smell is intoxicating for those who are addicted. Sweetness fills the nostrils; bitterness rushes over the tongue. The contrast somehow complements itself. Earthy undertones flower up, yet this beverage is much more satisfying than dirt. When the mug runs dry, specks of dark grounds remain swimming in the sunken meniscus. Steam no longer rises because energy has found a new home.

12 For the grassy lawn, she wrote:

Calico with shades of green, the grass is yellowing. Once vibrant, it's now speckled with straw. Sticking out are tall, seeding dandelions. Still some dips in the ground have maintained thick, soft patches of green. The light dances along falling down from the trees above, creating a stained-glass appearance made from various green shades. The individual blades are stiff enough to stand erect, but they will yield to even slight forces of wind or pressure. Made from several long strands seemingly fused together, some blades fray at the end, appearing brittle. But they do not simply break off; they hold fast to the blade to which they belong.

13 The point of this journal writing is for the students to look closely enough at ordinary reality to feel estranged from it, as if they have never before encountered (or attempted to describe) a cup of coffee or a field of grass—or a lemon or a basil leaf or their own body. Thus, the Thoreauvian objective of practicing home-cosmography begins to take shape. The familiar becomes exotic, note-worthy, and strangely beautiful, just as it often does for the geographical travel writer, whose adventures occur far away from where she or he normally lives. Travel, in a sense, is an antidote to complacency, to over-familiarity. But the premise of my class in Thoreauvian travel writing is that a slight shift of perspective can overcome the complacency we might naturally feel in our home surroundings. To accomplish this we need a certain degree of disorientation. This is the next challenge for our class.

The Blessing of Being Lost

14 Most of us take great pains to "get oriented" and "know where we're going," whether this is while running our daily errands or when thinking about the essential trajectories of our lives. We're often instructed by anxious parents to develop a sense of purpose and a sense of direction, if only for the sake of basic safety. But the traveler operates according to a somewhat different set of priorities, perhaps, elevating adventure and insight above basic comfort and security, at least to some degree. This certainly seems to be the case for the Thoreauvian traveler, or for Thoreau himself. In Walden , he writes:

…not until we are completely lost, or turned round,--for a man needs only be turned round once with his eyes shut in this world to be lost,--do we appreciate the vastness and strangeness of Nature. Every man has to learn the points of compass again as often as he awakes, whether from sleep or any abstraction. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations. (171)

15 I could explicate this passage at length, but that's not really my purpose here. I read this as a celebration of salutary disorientation, of the potential to be lost in such a way as to deepen one's ability to pay attention to oneself and one's surroundings, natural and otherwise. If travel is to a great degree an experience uniquely capable of triggering attentiveness to our own physical and psychological condition, to other cultures and the minds and needs of other people, and to a million small details of our environment that we might take for granted at home but that accrue special significance when we're away, I would argue that much of this attentiveness is owed to the sense of being lost, even the fear of being lost, that often happens when we leave our normal habitat.

16 So in my class I try to help my students "get lost" in a positive way. Here in Moscow, the major local landmark is a place called Moscow Mountain, a forested ridge of land just north of town, running approximately twenty kilometers to the east of the city. Moscow "Mountain" does not really have a single, distinctive peak like a typical mountain—it is, as I say, more of a ridge than a pinnacle. When I began contemplating this class on Thoreauvian travel writing, the central concepts I had in mind were Thoreau's notion of traveling a good deal in Concord and also the idea of looking at a specific place from many different angles. The latter idea is not only Thoreauvian, but perhaps well captured in the eighteen-century Japanese artist Katsushika Hokusai's series of woodblock prints known as 36 Views of Mt. Fuji , which offers an array of different angles on the mountain itself and on other landscape features (lakes, the sea, forests, clouds, trees, wind) and human behavior which is represented in many of the prints, often with Mt. Fuji in the distant background or off to the side. In fact, I imagine Hokusai's approach to representing Mt. Fuji as so important to the concept of this travel writing class that I call the class "36 Views of Moscow Mountain," symbolizing the multiple approaches I'll be asking my students to take in contemplating and describing not only Moscow Mountain itself, but the culture and landscape and the essential experience of Moscow the town. The idea of using Hokusai's series of prints as a focal point of this class came to me, in part, from reading American studies scholar Cathy Davidson's 36 Views of Mount Fuji: On Finding Myself in Japan , a memoir that offers sixteen short essays about different facets of her life as a visiting professor in that island nation.

17 The first of five brief essays my students will prepare for the class is what I'm calling a "Moscow Mountain descriptive essay," building upon the small descriptive journal entries they've written recently. In this case, though, I am asking the students to describe the shapes and colors of the Moscow Mountain ridge, while also telling a brief story or two about their observations of the mountain, either by visiting the mountain itself to take a walk or a bike ride or by explaining how they glimpse portions of the darkly forested ridge in the distance while walking around the University of Idaho campus or doing things in town. In preparation for the Moscow Mountain essays, we read several essays or book chapters that emphasize "organizing principles" in writing, often the use of particular landscape features, such as trees or mountains, as a literary focal point. For instance, in David Gessner's "Soaring with Castro," from his 2007 book Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , he not only refers to La Gran Piedra (a small mountain in southeastern Cuba) as a narrative focal point, but to the osprey, or fish eagle, itself and its migratory journey as an organizing principle for his literary project (203). Likewise, in his essay "I Climb a Tree and Become Dissatisfied with My Lot," Chicago author Leonard Dubkin writes about his decision, as a newly fired journalist, to climb up a tree in Chicago's Lincoln Park to observe and listen to the birds that gather in the green branches in the evening, despite the fact that most adults would consider this a strange and inappropriate activity. We also looked at several of Hokusai's woodblock prints and analyzed these together in class, trying to determine how the mountain served as an organizing principle for each print or whether there were other key features of the prints—clouds, ocean waves, hats and pieces of paper floating in the wind, humans bent over in labor—that dominate the images, with Fuji looking on in the distance.

18 I asked my students to think of Hokusai's representations of Mt. Fuji as aesthetic models, or metaphors, for what they might try to do in their brief (2-3 pages) literary essays about Moscow Mountain. What I soon discovered was that many of my students, even students who have spent their entire lives in Moscow, either were not aware of Moscow Mountain at all or had never actually set foot on the mountain. So we spent half an hour during one class session, walking to a vantage point on the university campus, where I could point out where the mountain is and we could discuss how one might begin to write about such a landscape feature in a literary essay. Although I had thought of the essay describing the mountain as a way of encouraging the students to think about a familiar landscape as an orienting device, I quickly learned that this will be a rather challenging exercise for many of the students, as it will force them to think about an object or a place that is easily visible during their ordinary lives, but that they typically ignore. Paying attention to the mountain, the ridge, will compel them to reorient themselves in this city and think about a background landscape feature that they've been taking for granted until now. I think of this as an act of disorientation or being lost—a process of rethinking their own presence in this town that has a nearby mountain that most of them seldom think about. I believe Thoreau would consider this a good, healthy experience, a way of being present anew in a familiar place.

36 Views—Or, When You Invert Your Head

19 Another key aspect of Hokusai's visual project and Thoreau's literary project is the idea of changing perspective. One can view Mt. Fuji from 36 different points of views, or from thousands of different perspectives, and it is never quite the same place—every perspective is original, fresh, mind-expanding. The impulse to shift perspective in pursuit of mindfulness is also ever-present in Thoreau's work, particularly in his personal journal and in Walden . This idea is particularly evident, to me, in the chapter of Walden titled "The Ponds," where he writes:

Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distinct pine woods, separating one stratum of the atmosphere from another. (186)

20 Elsewhere in the chapter, Thoreau describes the view of the pond from the top of nearby hills and the shapes and colors of pebbles in the water when viewed from close up. He chances physical perspective again and again throughout the chapter, but it is in the act of looking upside down, actually suggesting that one might invert one's head, that he most vividly conveys the idea of looking at the world in different ways in order to be lost and awakened, just as the traveler to a distant land might feel lost and invigorated by such exposure to an unknown place.

21 After asking students to write their first essay about Moscow Mountain, I give them four additional short essays to write, each two to four pages long. We read short examples of place-based essays, some of them explicitly related to travel, and then the students work on their own essays on similar topics. The second short essay is about food—I call this the "Moscow Meal" essay. We read the final chapter of Michael Pollan's The Omnivore's Dilemma (2006), "The Perfect Meal," and Anthony Bourdain's chapter "Where Cooks Come From" in the book A Cook's Tour (2001) are two of the works we study in preparation for the food essay. The three remaining short essays including a "Moscow People" essay (exploring local characters are important facets of the place), a more philosophical essay about "the concept of Moscow," and a final "Moscow Encounter" essay that tells the story of a dramatic moment of interaction with a person, an animal, a memorable thing to eat or drink, a sunset, or something else. Along the way, we read the work of Wendell Berry, Joan Didion, Barbara Kingsolver, Kim Stafford, Paul Theroux, and other authors. Before each small essay is due, we spend a class session holding small-group workshops, allowing the students to discuss their essays-in-progress with each other and share portions of their manuscripts. The idea is that they will learn about writing even by talking with each other about their essays. In addition to writing about Moscow from various angles, they will learn about additional points of view by considering the angles of insight developed by their fellow students. All of this is the writerly equivalent of "inverting [their] heads."

Beneath the Smooth Skin of Place

22 Aside from Thoreau's writing and Hokusai's images, perhaps the most important writer to provide inspiration for this class is Indiana-based essayist Scott Russell Sanders. Shortly after introducing the students to Thoreau's key ideas in Walden and to the richness of his descriptive writing in the journal, I ask them to read his essay "Buckeye," which first appeared in Sanders's Writing from the Center (1995). "Buckeye" demonstrates the elegant braiding together of descriptive, narrative, and expository/reflective prose, and it also offers a strong argument about the importance of creating literature and art about place—what he refers to as "shared lore" (5)—as a way of articulating the meaning of a place and potentially saving places that would otherwise be exploited for resources, flooded behind dams, or otherwise neglected or damaged. The essay uses many of the essential literary devices, ranging from dialogue to narrative scenes, that I hope my students will practice in their own essays, while also offering a vivid argument in support of the kind of place-based writing the students are working on.

23 Another vital aspect of our work together in this class is the effort to capture the wonderful idiosyncrasies of this place, akin to the idiosyncrasies of any place that we examine closely enough to reveal its unique personality. Sanders's essay "Beneath the Smooth Skin of America," which we study together in Week 9 of the course, addresses this topic poignantly. The author challenges readers to learn the "durable realities" of the places where they live, the details of "watershed, biome, habitat, food-chain, climate, topography, ecosystem and the areas defined by these natural features they call bioregions" (17). "The earth," he writes, "needs fewer tourists and more inhabitants" (16). By Week 9 of the semester, the students have written about Moscow Mountain, about local food, and about local characters, and they are ready at this point to reflect on some of the more philosophical dimensions of living in a small academic village surrounded by farmland and beyond that surrounded by the Cascade mountain range to the West and the Rockies to the East. "We need a richer vocabulary of place" (18), urges Sanders. By this point in the semester, by reading various examples of place-based writing and by practicing their own powers of observation and expression, my students will, I hope, have developed a somewhat richer vocabulary to describe their own experiences in this specific place, a place they've been trying to explore with "open minds and notebooks." Sanders argues that

if we pay attention, we begin to notice patterns in the local landscape. Perceiving those patterns, acquiring names and theories and stories for them, we cease to be tourists and become inhabitants. The bioregional consciousness I am talking about means bearing your place in mind, keeping track of its condition and needs, committing yourself to its care. (18)

24 Many of my students will spend only four or five years in Moscow, long enough to earn a degree before moving back to their hometowns or journeying out into the world in pursuit of jobs or further education. Moscow will be a waystation for some of these student writers, not a permanent home. Yet I am hoping that this semester-long experiment in Thoreauvian attentiveness and place-based writing will infect these young people with both the bioregional consciousness Sanders describes and a broader fascination with place, including the cultural (yes, the human ) dimensions of this and any other place. I feel such a mindfulness will enrich the lives of my students, whether they remain here or move to any other location on the planet or many such locations in succession.

25 Toward the end of "Beneath the Smooth Skin of America," Sanders tells the story of encountering a father with two young daughters near a city park in Bloomington, Indiana, where he lives. Sanders is "grazing" on wild mulberries from a neighborhood tree, and the girls are keen to join him in savoring the local fruit. But their father pulls them away, stating, "Thank you very much, but we never eat anything that grows wild. Never ever." To this Sanders responds: "If you hold by that rule, you will not get sick from eating poison berries, but neither will you be nourished from eating sweet ones. Why not learn to distinguish one from the other? Why feed belly and mind only from packages?" (19-20). By looking at Moscow Mountain—and at Moscow, Idaho, more broadly—from numerous points of view, my students, I hope, will nourish their own bellies and minds with the wild fruit and ideas of this place. I say this while chewing a tart, juicy, and, yes, slightly sweet plum that I pulled from a feral tree in my own Moscow neighborhood yesterday, an emblem of engagement, of being here.

Bibliography

BUELL, Lawrence, The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture , Harvard University Press, 1995.

DAVIDSON, Cathy, 36 Views of Mount Fuji: On Finding Myself in Japan , Duke University Press, 2006.

DUBKIN, Leonard, "I Climb a Tree and Become Dissatisfied with My Lot." Enchanted Streets: The Unlikely Adventures of an Urban Nature Lover , Little, Brown and Company, 1947, 34-42.

GESSNER, David, Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , Beacon, 2007.

ISAKSON, Elizabeth, "Journals." Assignment for 36 Views of Moscow Mountain (English 208), University of Idaho, Fall 2018.

SANDERS, Scott Russell, "Buckeye" and "Beneath the Smooth Skin of America." Writing from the Center , Indiana University Press, 1995, pp. 1-8, 9-21.

SLOVIC, Scott, "Teaching with Wolves", Western American Literature 52.3 (Fall 2017): 323-31.

THOREAU, Henry David, "October 1-20, 1853", Being in the World: An Environmental Reader for Writers , edited by Scott H. Slovic and Terrell F. Dixon, Macmillan, 1993, 371-75.

THOREAU, Henry David, Walden . 1854. Princeton University Press, 1971.

Bibliographical reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban , 59 | 2018, 41-54.

Electronic reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban [Online], 59 | 2018, Online since 01 June 2018 , connection on 27 May 2024 . URL : http://journals.openedition.org/caliban/3688; DOI : https://doi.org/10.4000/caliban.3688

About the author

Scott slovic.

University of Idaho Scott Slovic is University Distinguished Professor of Environmental Humanities at the University of Idaho, USA. The author and editor of many books and articles, he edited the journal ISLE: Interdisciplinary Studies in Literature and Environment from 1995 to 2020. His latest coedited book is The Routledge Handbook of Ecocriticism and Environmental Communication  (2019).

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