how to describe an alcoholic creative writing

How to Write a Drunk Character

Intoxication is a complex biological process, and it can affect people in a variety of different ways—making it a particularly difficult thing to write about. However, the acts of drinking, partying, and drowning sorrows in a bottle are prevalent themes in our world and in literature.  Chances are, you’ll have to write a drunk character at one point or another.

There are several things you’ll need to consider before writing a convincing drunk character. Alcohol has several predictable effects on people, but causes people to behave in unpredictable ways. Even dialogue for drunk characters will differ based on the character and your personal style of writing. Additionally, you’ll need to convey an appropriate hangover after the fact, or the scene won’t feel as authentic to your readers. If you’re writing a story in the first person, then you’ll have to deal with the thought processes and internal dialogue of the drunk character as well, which is an even more difficult thing to write convincingly. 

It might seem overwhelming to keep track of all that while writing, but it’s not as bad as it sounds. There are easy ways to break down the ideas, and you can actually use your character’s intoxication as a tool for revealing things about the story or the character in question. 

How to Describe a Drunk Person

It’s usually not hard to tell when a person has been drinking, even before they open their mouth. There are a number of visual and behavioral cues that can tip your readers off to the fact that a character may be drunk without you having to spell it out for them. They are going to be slurring their words, swaying where they’re standing, and stumbling as they walk. It’s also common for people to fidget and stumble around.

When describing a drunk person visually, there are a few features you should focus on. The first is the eyes. Drunk people often have a difficult time focusing on things around them, so their eyes may seem glossy and drift around the room as their gaze floats about their surroundings. 

The mouth is also a good indicator as well. When not emoting, the character’s jaw is likely going to be hanging slack, letting their mouth hang open ever so slightly. When they smile, however, they will usually smile much more broadly than they would if they were sober. Expressions would become exaggerated, because the character won’t be thinking about how their face looks.

Next, the person’s arms are a good indicator of their intoxication. Drunk people don’t have control over fine motor skills, so their gestures become more pronounced and sweeping. What would be a simple wave while sober becomes a wide-sweeping flail of the arm once intoxicated. 

Another easy way to spot a drunk person is the way they walk. A drunk person walking is not going to be moving with much determination, and they definitely won’t be going in a straight line. They will be stumbling around, likely using the wall or furniture to keep from falling over. Their footsteps will be irregular, and their body is going to lurch unpredictably as the character tries to keep their balance. 

Physical descriptions are not the only important aspect of describing a drunk person. You should also consider how the character behaves while they are drunk. Some people become belligerent, disobedient, sad, or giddy as a result, and how they behave will depend on several factors. 

Different Kinds of Drunks

First things first: getting drunk does not magically change someone’s personality . Alcohol amplifies personality traits that a person already has, but it won’t make someone act wildly out of character. So, a person who is ordinarily angry will be even more aggressive when drunk. A person who is often sad and lethargic will become even more depressed after more than a few drinks. 

That also means that alcohol is good at revealing a person’s natural temperament, so mysterious or two-faced characters may reveal more about their true selves when under the influence of alcohol. In addition to that, alcohol blurs inhibitions and critical thought, so a character that is ordinarily reasonable may be more receptive to bad ideas after they have had a few drinks. 

A character’s mood before they start drinking can also have an effect on how they behave once drunk, as well as their reason for drinking. If a person is drinking to have fun, they would naturally behave differently from someone who is drinking to cope with anger issues or a traumatic experience. 

(Writing characters with anger issues can also be a struggle, but if you want some help with that, I have another article on that topic: Writing a Character with Anger Issues. )

With that said, there are a few different ways that drunk people tend to behave. Some people will claim that there are officially four types of drunks, but I believe that to be trendy pseudoscience. The ways people behave while drunk are as varied as the ways they behave while sober, and no two people are exactly alike. 

However, if you’re looking for ideas to get started, here are some of the top tropes . Don’t feel like you need to be constrained to just one choice, though. Many people experience several mood swings and behavioral changes as the night goes on, especially if they continue to drink. Combinations could also be fun to play with if you could make it work for the character.

Flirty Drunk

A flirty drunk is a person who takes every opportunity to flirt with those around them. They may wear progressively less clothing as time goes on, and their sole goal is usually to get someone in bed before the end of the night. However, there are more benign flirty drunks, who really have no intentions behind their flirty behavior other than to chat and have a good time in the moment. 

This trope is pretty common, since it’s a good one to use for comic effect. It’s also great for making other characters uncomfortable, or getting the main character in trouble for flirting with someone’s significant other. This is also a fun trope to combine with others, so play around with it a little. 

Some people become much more hostile when intoxicated, and use everything as an excuse to start a fight. They may yell, break things, hurt themself, or start throwing punches. Really, they are likely to say and do whatever they want, regardless of who would be hurt. 

This type of trope is commonly used to create characters that act as abusive parents or spouses, but there are more ways to apply this kind of trope. A small, mild-mannered woman could become quite fighty after a few drinks, and a young businessman could develop a rather sharp tongue once he’s had a couple whiskeys. Try to deviate from the stereotypes to disrupt your reader’s expectations. 

You should try to find a good balance between surprising your readers, and not letting your characters behave in inconsistent ways.

Happy Drunk

A person that regularly breaks down into fits of giggles while drinking tends to be labeled as a happy drunk. These people tend to crack jokes and laugh often, finding even mundane things to be either fantastical or hilarious. 

Happy drunks are a common choice in fiction for comic relief, since a goofy drunk can bring a smile to anyone’s face—as long as they’re written well. As you can probably guess by now, I’m a fan of subverting expectations, so play around with the idea of making more stoic or rough characters get a little goofy when they’re drunk. It’s a fun way to reveal a more playful side of their personality they could be concealing, for pride or reputation’s sake. 

This is also the category that I usually fall into when I’m drunk, so I can attest: everything does get hilarious. It’s easy to get overcome with giggles at absolutely anything . 

Sentimental Drunk

People that use alcohol as an excuse to express how much they appreciate everything are referred to as sentimental drunks. They often reminisce about the past, apologize for past mistakes, and repeat the phrase “I love you guys” or some variation of that all night long. They can get teary-eyed when offered even the smallest compliment or bit of assistance, and they tend to get physically clingy to their friends—and even strangers. 

Sentimental drunks are fairly common, in both real life and in fiction. Including it in your story can create an opportunity to reveal a lot about your characters and their pasts, too. A character may express remorse for doing something that the other characters didn’t know they were responsible for, or they could confess to having a long-time crush on another character. There are tons of possibilities!

A person drinking for the wrong reasons—such as to forget a bad experience, to numb their senses, or to cope with a loss—will usually end up behaving melancholically when intoxicated. Typically, if a person is feeling sad before drinking, they will still be sad after drinking too. 

Sad drunks typically hang out in a corner alone, knocking back drinks just for the sake of not being sober. They tend to slur more, and can break down into incomprehensible sobs at any moment. Other times, they may just brush off anyone that approaches them until they inevitably drink themselves to unconsciousness. 

I probably don’t have to point this out, but this trope is everywhere . The main hero loses a loved one and drinks at a bar to forget (before getting his inevitable heroic wake-up-call to get his life back together again). A retired hero (superhero, detective, cop, etc) drinks alone at a bar, pretending he never was the hero people claim he is. Or, better yet, a story ends with the main character having a drink alone after losing everything at the end of the story (but only to set up the sequels ). The point I’m trying to make is that this trope is just a little tired.

If you want to avoid clichés like the ones above, then you really need to dive into the experiences of the character. Explore in-depth their thoughts and feelings, and linger over things that they’re conflicted about. Make the scene mean something both for the readers and the character, otherwise, it won’t feel like anything more than just a trope. 

All of the Above

Remember these are tropes, and that most people exhibit all or several of these types of behaviors. Some people display behaviors from multiple different tropes simultaneously, like sad and mean, while others cycle through them multiple times for as long as they’re intoxicated. These are also not all of the possibilities! 

Here are some additional drunk personality tropes:

• The philosophical drunk
• The annoying drunk
• The violent drunk
• The childish drunk
• The messy drunk
• The mom-friend drunk
• The anarchist
• And many many… many more. 

Remember that even drunk, characters should still behave like individuals. These are just ideas to help you figure out how your character could behave while under the influence of alcohol, but they are not intended to dictate or restrict how your character can act. All your characters should be unique, sober or not. 

Write out a few short stories for fun that feature your characters getting drunk in different settings to try to figure out what feels right for them. Putting your ideas in practice is a great way of finding out what works and what doesn’t—before you put it in your story.  

How to Write a Drunk Character in the First Person

Writing about a mind-altering condition from the perspective of the affected character can be a challenge, but it’s not impossible. There are a couple of tricks you can use to make a first-person drunk scene feel more authentic. 

The first mistake that many writers make when writing a drunk character in the first person is that they don’t alter the way they write everything. Your character is not perceiving the world the same way they usually do, so you shouldn’t write about their world the same way you usually do. Your character is not going to be thinking in complex, well-articulated sentences, so it’s going to feel weird to your readers if you continue to describe things, such as the character’s actions and surroundings, with the same style you ordinarily would. 

There are several ways to get around this. First, try focusing on visual details and immersive imagery. Focus on what your character sees and feels, rather than what they are thinking. They will not be thinking too hard about anything, so don’t linger on any particular idea for more than a few lines. Describe things visually, and feel free to dive into what that item means to the drunk character instead of what it objectively is. Have them fixate—but just for a moment, then move on quickly. 

Drunk people see things first, and act on instinct based on their experiences with that thing they’re looking at. They don’t take the time to think, and if they do, it is usually not with the same kind of analytical approach they would take while sober. For example:

“I looked out over the glassy surface of the pool, watching the underwater lights distorting with each tiny wave… I wanted to reach out and feel the icy water… the waves… And before I knew what I was doing, I found myself under the water, sputtering for air below the surface.”

That example is also a good example for illustrating another idea. Selectively cutting out parts of what is happening, such as the drunk character jumping into the pool presumably fully clothed, can represent the spotty memory and periods of blacking out associated with being drunk. 

Finally, always remember to show don’t tell . In the case of drunkenness, describe how the character is feeling, don’t just say like “I felt numb and dizzy.” Instead, describe how the room seems to float around like a boat, making the character tumble when they try to walk. Describe how their eyes seem to lag when they try to look in a new direction. Describe the feeling of not quite being able to control the trajectory of their hands, or the speed at which they move. These things are far more telling than simply stating the obvious. You want your readers to experience the feeling vicariously through your character, so let the situation be immersive. 

How to Write Drunk Dialogue

There are many different options when it comes to writing drunk dialogue, but which one you choose could be a matter of personal preference, the degree to which your character is intoxicated, and the type of character getting drunk. Some people slur more than others, while other people mash words together, so you might end up using multiple different options for different characters.

The first thing that you need to understand about drunk dialogue (before you worry about formatting it) is that the way your characters structure their sentences and express their thoughts could be quite different from how they usually do. Drunk people tend to stop speaking mid-sentence, or jump to a different topic without much warning. It’s also common for people to repeat themselves, raise their voice, or share opinions that they probably shouldn’t. Though a character normally wouldn’t dare to spill someone else’s secret or share their own secretly held beliefs, those things might just slip out after a little bit of alcohol.

Now, on to actually writing the dialogue.

One of the techniques you could utilize is probably one you’ve seen in other stories before. You could simply write out the words as they would sound slurred out by a drunk person. As long as the misspellings you’ve chosen for the words are recognizable and make sense, then you should be fine. It’s common for drunk people to drag out the “s” sound into “sh,” so that’s a good place to start. Just be careful about making sure the words are identifiable even after you butcher the spelling. Here’s an example:

“You’re being… ridicu-lush… ’m not that drunk…” 

Another technique you could use is to smash two or more words together to further emphasize the slur and change in the character’s behavior. For example:

“Whatcha got there? ‘Nother drink? You ‘bout’a get hammered!”

In this case, “whatcha” and “‘bout’a” are compounded versions of “what do you” and “about to.” The meaning of the sentence is still clearly conveyed to readers, so it’s a good way of making the drunk dialogue stand out without making it unreadable. 

Another option is to break up the character’s dialogue with ellipses, and even litter a few hiccups in between their words. This is a good option for combining with some repetition as well. As long as you don’t overdo it with the hiccups (as a lot of writers do), you should be fine. This would look something like this:

“I don’t… I don’t know if I… hic… if I wanna go…” 

As with any dialogue, if you aren’t sure about what you wrote, just read it out loud. Try to embody the character, and act their dialogue out. If it doesn’t sound right after you’ve said it, then you can reevaluate it and make changes to it. That’s the best way to find out if it sounds like something someone would actually say. 

How to Write a Hungover Character

Hangovers are a predictable consequence of getting drunk, so it’s something you should consider showing in your story after a character gets drunk. If your character wakes up the morning after a night of heavy drinking as chipper and healthy as usual, that might not sit well with your readers. 

First things first, you’ll need to understand exactly when and how a hangover begins. Symptoms of a hangover first begin appearing the moment a drinker’s Blood Alcohol Concentration (BAC) plateaus, and begins to drop again. However, since at this point the drinker is still going to be rather intoxicated, they probably aren’t going to notice the symptoms until their BAC drops significantly lower. 

The closer to 0 a person’s BAC gets, the worse they are going to feel. That’s why an extra drink is a popular “cure” for a hangover since it postpones the effects, but that only worsens the inevitable discomfort. 

The symptoms of a hangover are:

• Light sensitivity
• Dehydration
• Bodily aches and pains
• Poor attention and concentration
• Increased heart rate
• Jitters 
• Potentially dealing with injuries sustained while drunk, such as from bar fighting, falling over, etc

With that said, symptoms vary depending on the quantity and type of alcohol consumed. Sugary drinks and red wines tend to result in worse nausea the morning after, for example. Beer, on the other hand, especially a particularly hoppy beer, tends to result in more manageable hangovers.

The symptoms of a hangover can last anywhere from a few hours to an entire day—and sometimes even longer than that. Plan to have your character out of commission for at least the next 12 hours if they’ve gotten significantly wasted. 

Do Some First-Hand Research

As with almost anything, the best way to learn how to write a drunk character is to simply get drunk yourself. Pay attention to how you feel as you get tipsier and tipsier, and try to stay mindful about your experiences as you are drinking. Keeping notes is also a great idea, though they might make less sense as you get drunker. This is also the best way to learn how to write a drunk character in the first person, if your story requires that.

Obviously, that suggestion isn’t an option for everyone. If you’re underage, or you avoid alcohol for personal or religious reasons, then you shouldn’t feel the need to infringe on your preferences (or the law) to write a convincing scene. But you should still try to have conversations with people who do drink actively, and try to do so with as many different people as possible to get a wide array of experiences. Simply explain why you’re asking them about it, and most people will be open to share.

Remember to drink responsibly. 

Stay safe, and keep writing!

Writing Nestling

How To Describe Alcohol In Writing (10 Important Steps)

Introducing the art of describing alcohol in writing is akin to opening the doors to a sensory wonderland where words become the palette for crafting exquisite experiences.

The allure of this endeavor lies in the capacity to transport readers to the heart of convivial gatherings, into dimly lit speakeasies, or across sun-drenched vineyards, all through the meticulous strokes of a writer’s pen.

Describing alcohol in literature is a voyage into the realm of sensory richness, where visual, olfactory, gustatory, and tactile dimensions converge to create a tapestry that not only tantalizes the imagination but also evokes emotions and deeper layers of meaning.

It’s a craft that allows the author to infuse their narrative with the spirit of libations, where every glass becomes a vessel carrying more than just liquid—it carries history, symbolism, and the essence of characters and their stories.

In the following exploration, we will delve into the intricacies of this art, from setting the scene to unveiling the metaphorical depths of alcohol, offering writers a map to navigate the intoxicating possibilities of words.

Table of Contents

How To Describe Alcohol In Writing

Describing alcohol in writing typically involves providing information about its appearance, aroma, taste, and sometimes its effects. Here’s a step-by-step process for doing so:

Identify the type of alcohol

Specify whether you are describing a specific type of alcohol, such as wine, beer, whiskey, vodka, or any other beverage. The characteristics can vary significantly between different types.

Start with the color: Describe the color of the alcohol, whether it’s clear, amber, brown, golden, or any other shade.

Note its transparency: Mention whether the alcohol is clear, hazy, or cloudy.

Discuss viscosity: Comment on its thickness or viscosity, whether it’s thin like water or thick and syrupy.

Inhale the scent: Take a moment to smell the alcohol. Note any immediate impressions.

Describe the primary aroma: Identify the dominant scents, which can range from fruity and floral to earthy or smoky.

Note any subtle hints: Mention any secondary or subtle aromas that become apparent upon deeper inspection.

Take a sip: Taste the alcohol and allow it to coat your palate.

Describe the initial impression: Explain the first taste that hits your tongue, whether it’s sweet, bitter, sour, or something else.

Note the flavor profile: Identify the different flavors that develop as you continue to taste. This could include fruity notes, spices, or any unique characteristics.

Discuss the finish: Describe the aftertaste and how long the flavors linger on the palate. Mention any changes in taste as it dissipates.

Mention mouthfeel: Describe how the alcohol feels in your mouth, whether it’s light and crisp or heavy and velvety.

Talk about carbonation (if applicable): If it’s a carbonated beverage, describe the level of fizziness.

Alcohol content

Mention the alcohol by volume (ABV): Provide the ABV percentage, which indicates the alcohol’s strength.

Discuss any warming sensations: Note if the alcohol imparts a warming sensation as it goes down.

Suggest food pairings: Share recommendations for foods that complement the alcohol you’re describing. For example, wine with specific dishes or cocktails with appropriate garnishes.

Effects (if relevant)

Discuss the effects of alcohol consumption: If applicable, mention the effects of consuming the described alcohol, such as relaxation, intoxication, or any other relevant impact.

Personal experience

Share your personal impressions: Conclude with your overall impressions and any subjective feelings or memories evoked by the alcohol.

Edit and refine

Review your description, ensuring clarity and coherence, and make any necessary edits for conciseness and readability.

Remember to adapt your description to the specific type of alcohol you’re writing about, as each has its own unique characteristics and nuances.

Setting the Scene

In the enchanting glow of a dimly lit speakeasy, where the air carries whispers of forgotten tales and the walls harbor the secrets of many a clandestine rendezvous, the setting unfurls its mysteries.

A single amber-hued light caresses the contours of ornate glassware, casting intricate shadows on the mahogany bar.

The clinking of ice in crystal tumblers becomes a symphony, and the patrons, swathed in the elegance of a bygone era, engage in a dance between nostalgia and anonymity.

This is not just a place; it is a portal to the past, a tapestry of stories woven into the very fabric of its existence, and it beckons the thirsty traveler to step back in time and savor the elixir of history.

Establishing the context

In the realm of storytelling, context is the fertile soil from which the seeds of narrative sprout and flourish. It’s the geographical coordinates of a tale, the temporal anchor that tethers characters to their past, present, and future.

When a writer deftly establishes context, they breathe life into their narrative, painting the backdrop against which characters evolve and conflicts unfold.

Whether it’s a moonlit medieval castle shrouded in intrigue or a bustling metropolis pulsing with modernity, context is the compass that guides readers through the labyrinth of a well-crafted story, making them not mere observers but willing travelers on an unforgettable journey.

Sensory Descriptions

In the art of storytelling, sensory descriptions are the kaleidoscope through which words transform into sensations, creating a symphony of experience in the reader’s mind.

They are the brushstrokes of a vivid painting, the scents that linger in the air, the tastes that dance on the tongue, and the textures that beckon touch.

With every stroke of the writer’s pen, sensory descriptions summon the reader to run their fingers through silken moonlight, to savor the bittersweet symphony of a rainy afternoon, to hear the whispers of secrets carried by the wind, and to taste the very essence of the world crafted between the pages.

Like a masterful chef crafting a gourmet meal, writers conjure a sensory feast, inviting readers to not just read the words, but to feel them, breathe them, and become lost in their exquisite magic.

Visual imagery

Visual imagery in writing is the conjurer’s wand, the artist’s palette, and the cinematographer’s lens all at once. It’s the craft of weaving enchanting tapestries of sight with words, allowing readers to step into the vivid landscapes of imagination.

Through meticulous detail, authors can paint worlds as intricate as a microcosm or as vast as a galaxy, capturing the iridescence of a dragon’s scales, the intricacies of a cobblestone alleyway in Victorian London, or the ethereal glow of a bioluminescent forest on an alien planet.

It’s an invitation for readers to not only read but to dream with their eyes wide open, to let words transform into a visual symphony, and to walk through the pages of a book as though they were portals to an infinite realm of possibility.

Taste and Flavor

Taste and flavor in writing are the alchemical potions that turn mere words into a culinary journey for the soul. They’re the sizzling anticipation of a first bite into a perfectly seasoned dish, the delicate interplay of sweet and savory, and the explosion of sensations that dance upon the palate.

Authors, like gourmet chefs of storytelling, meticulously blend the essences of their narrative, layering emotions with the subtleties of taste to create an exquisite recipe for reader immersion.

With every page turned, readers savor the rich, multifaceted flavors, from the bitter tang of heartache to the sweet honeyed notes of love, experiencing not just words, but a full-bodied, literary feast that leaves them yearning for more, like a connoisseur of life’s most delectable experiences.

Palate exploration

Palate exploration in writing is the art of embarking on a sensory adventure, akin to savoring a fine wine or a complex dish.

It’s the delicate balance between teasing and satisfying the reader’s senses with a symphony of flavors, aromas, and textures.

Just as a sommelier navigates the nuances of a vintage, writers traverse the intricate landscape of their narrative, introducing readers to the primary, secondary, and tertiary elements that compose the story’s essence.

Whether it’s the bittersweet undercurrent of unrequited love or the subtle hints of tension in a suspenseful plot, authors craft a literary menu where every word is a delectable morsel, inviting readers to savor, appreciate, and, ultimately, be transported to the heart of the narrative.

Emotions and Atmosphere

Emotions and atmosphere in writing are the ethereal architects of the reader’s soul. They weave a tapestry of feelings and environments, much like a master conductor leading an orchestra through a heart-pounding crescendo.

In the hands of a skilled writer, emotions transcend mere words; they become the heartbeats of characters, the tendrils of connection that draw readers into the narrative’s embrace.

The atmosphere, a silent yet omnipresent character, provides the stage where these emotions unfurl, be it the hushed tension of a moonlit graveyard or the jubilant cacophony of a lively carnival.

Together, emotions and atmosphere are the alchemical elixir that transforms ink and paper into a realm where readers not only witness a story but feel it resonating deep within their very essence, turning every page into an emotional journey worth embarking upon.

Impact on characters and the narrative

The impact of emotions on characters and the narrative is like the ripple effect of a stone dropped into a still pond.

Just as the stone’s entry into the water creates expanding concentric circles, a character’s emotions can send shockwaves through the storyline, driving character development and steering the plot’s course.

Whether it’s the transformative power of love, the searing weight of guilt, or the intoxicating lure of ambition, emotions are the inner landscapes that shape a character’s choices and actions.

These emotions, like powerful currents, not only reveal the innermost struggles and desires of characters but also serve as the guiding winds that navigate the narrative ship through the turbulent seas of conflict and resolution.

In this intricate dance between character and plot, emotions are the lifeblood that infuses the story with authenticity, making it relatable and resonant, leaving readers not just as passive spectators but as deeply engaged participants in the unfolding drama.

Symbolism and Metaphor

Symbolism and metaphor in writing are the cryptic keys that unlock the hidden chambers of the human psyche.

They are the secret codes, the double meanings, and the mirrors reflecting the myriad facets of the human experience.

Like master illusionists, writers employ symbols and metaphors to conjure powerful, multi-layered connections between the tangible and the intangible.

An ordinary object becomes a mystical talisman, a flickering candle flame becomes a beacon of hope, and a storm-tossed sea becomes a metaphor for tumultuous emotions.

In the alchemical transformation of words, writers invite readers to embark on a treasure hunt, deciphering the rich, enigmatic tapestry of meaning that lies beneath the surface of the text.

Symbolism and metaphor are the hidden doorways that lead to profound insights, making the written word not just a tale to be read but a profound journey to be explored, an intellectual and emotional playground where the ordinary becomes extraordinary, and the mundane becomes profound.

Alcohol as a metaphor

Alcohol, as a metaphor in literature, is like a multifaceted gem that shimmers with a myriad of interpretations. It can be the elixir of liberation, releasing characters from the confines of societal norms and inhibitions, or the poison that corrupts and leads them down a path of self-destruction.

In its liquid form, alcohol can symbolize escape, offering solace and respite from life’s burdens, or it can be the siren’s call, luring characters into a whirlpool of despair.

As a metaphor, it can represent transformation, as characters evolve through intoxication, or the fragile barrier between reality and illusion.

Like an ever-shifting mirror, alcohol reflects the myriad aspects of human nature, making it a rich and powerful symbol that adds depth and complexity to the narrative, leaving readers with much more to savor than the taste of spirits on the tongue.

The Writing Process

The writing process is a sorcerer’s incantation, an artist’s trance, and an archaeologist’s excavation, all rolled into one mesmerizing journey of creation.

It’s the alchemy where imagination transmutes into words, where the ordinary becomes extraordinary, and where the silent symphony of thoughts takes center stage.

It’s the sacred dance of inspiration and perspiration, a paradoxical labyrinth where chaos and order entwine. Writers wield their pens as wands, summoning characters from the void, carving worlds from the ether, and breathing life into the otherwise lifeless.

With each word, each revision, and each laborious edit, they navigate the nebulous waters of their own creativity, conjuring narratives that are at once an intimate confession and a universal revelation.

In this mystical realm, writers are the magicians, the creators, the explorers, and the architects, crafting stories that defy time and space, inviting readers to step into the kaleidoscope of their imagination and embark on an unforgettable adventure.

Drafting and revising

Drafting and revising in the writing process are akin to the sculptor’s chisel and the painter’s brush. In the initial draft, the writer releases the torrent of thoughts onto the canvas, unearthing the raw essence of their ideas.

It’s a fevered dance of creation, a journey where words pour out like an untamed river, bearing the writer’s soul.

But the true magic happens in the refining process. Revising is the alchemical transformation of rough stone into a polished gem, where each word is scrutinized, sentences honed to perfection, and the narrative’s architecture reshaped for maximum impact.

It’s the realm of precision, where writers play the roles of both the surgeon and the architect, cutting and restructuring with surgical precision, ensuring the final result resonates with clarity and resonance.

Drafting is the birth of an idea, while revising is the maturation process, where the story evolves from a cacophonous draft into a symphony of words, where every note, every paragraph, and every chapter harmonize to create an unforgettable narrative.

Examples from Literature

Examples from literature are like timeless jewels that have weathered the storms of time, carrying within them the echoes of bygone eras and the whispers of masterful storytellers.

They are the windows through which we glimpse the souls of characters, the landscapes of imagination, and the grand tapestries of human experience.

These examples are the golden threads that weave literary canons together, from the haunting soliloquies of Shakespeare to the dystopian visions of Orwell, and the intricate moral labyrinths of Dostoevsky.

They are both beacons of inspiration and guideposts for aspiring writers, showcasing the boundless possibilities of language and narrative.

Examples from literature are not just pages filled with ink; they are portals to different worlds, and in their lines, readers find not just stories, but the keys to unlock the mysteries of the human heart and the enigmatic art of storytelling.

Notable passages featuring alcohol

Notable passages featuring alcohol in literature are like intoxicating distillations of the human condition, a glimpse into the complexities of human relationships and the multifaceted facets of existence.

From Hemingway’s “The Sun Also Rises,” where absinthe flows like a river and the characters’ libations mirror their inner turmoil, to F. Scott Fitzgerald’s “The Great Gatsby,” where champagne glasses brim with decadence and unfulfilled desires, these passages immerse us in the intoxicating worlds of their stories.

The iconic scene in Raymond Chandler’s “The Long Goodbye,” where a tumbler of bourbon becomes the melancholic backdrop for introspection and mystery, or the fevered, absinthe-fueled frenzy in Oscar Wilde’s “The Picture of Dorian Gray,” these notable passages are not just about spirits; they are a tapestry of human emotion, excess, and escapism.

They remind us that alcohol is not just a liquid but a mirror reflecting the complexities of life, love, and the human soul.

Frequently asked questions about How To Describe Alcohol In Writing

What’s the best way to start describing the appearance of an alcoholic beverage.

Begin by assessing the color, transparency, and viscosity of the alcohol. These visual characteristics set the stage for your description.

How do I capture the essence of an alcohol’s aroma in words?

Inhale deeply and identify the primary aromas, but don’t forget to explore the subtler notes, much like a wine connoisseur examining a fine vintage.

Can you give some tips on articulating the taste of alcohol effectively?

Start by noting the initial taste impression, then delve into the flavor profile, making sure to discuss the finish and any changes in taste. Metaphors and comparisons can be helpful.

What’s the significance of mentioning the texture or mouthfeel of the alcohol?

Texture conveys important sensory information. Describe how the alcohol feels in your mouth, whether it’s light, velvety, or effervescent.

Is it important to mention the alcohol content (ABV) when describing a beverage?

Absolutely. The alcohol by volume (ABV) percentage indicates the beverage’s strength and is vital information for readers.

Can you offer some creative ways to suggest food pairings for the alcohol being described?

Consider the alcohol’s flavors and characteristics and suggest food pairings that create harmonious flavor combinations. Think of it as a culinary adventure!

How should I approach describing the effects of alcohol consumption in my writing?

If relevant, describe the effects honestly and responsibly, considering aspects like relaxation, intoxication, or any unique sensations induced by the alcohol.

Should I include my personal experiences and emotions when describing alcohol in writing?

Yes, sharing your personal impressions can add a unique and relatable dimension to your description. Your own experiences and emotions can help readers connect with your narrative.

Are there any creative techniques to make my alcohol descriptions more engaging and memorable?

Certainly! Experiment with vivid metaphors, analogies, and storytelling to create a sensory journey for your readers. Paint a picture with words and evoke emotions.

How can I ensure my alcohol descriptions are both informative and captivating?

Strive for a balance between informative content and engaging storytelling. Use sensory details and provide information concisely to keep readers both informed and entertained.

Remember that the key to successful alcohol descriptions is engaging your readers’ senses and emotions, allowing them to experience the beverage vicariously through your words.

In conclusion, effectively describing alcohol in writing is a multifaceted and sensory-rich endeavor that requires careful attention to detail and a genuine passion for the subject.

By following the steps outlined in the process, you can craft descriptions that not only inform but also engage and transport your readers to the world of beverages.

Whether you’re discussing the appearance, aroma, taste, or effects of alcohol, the art lies in capturing the essence of the drink and conveying it in a way that resonates with your audience.

Moreover, adding a personal touch to your descriptions can infuse your writing with authenticity and relatability, allowing readers to connect with your experiences and emotions.

Employing vivid language, metaphors, and storytelling techniques can elevate your descriptions, making them not just informative but also captivating and memorable.

Ultimately, describing alcohol in writing is an art that combines sensory perception, technical knowledge, and the creative power of language.

It’s a journey of exploration, where every sip is an opportunity to uncover and share the unique qualities of each beverage.

So, whether you’re a connoisseur, a writer, or both, remember that the beauty of this craft lies in its ability to transport readers to the world of spirits, wines, and beers, making each description a captivating adventure in its own right.

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Paula Writes

Paula puddephatt – author, writing about substance abuse in your fiction.

Drug addiction and alcoholism are challenging, controversial, and complex to write about, but I personally choose to address both, in my fiction.

I do have personal, although not recent, experience, in the areas of problem drinking and volatile substance abuse – but not of using illegal drugs.

There are many resources that can help with our research online, but definitely, a lack of material dealing specifically with how to write about these issues, in our fiction. I hope that this will change and, even though I can by no means claim to be an expert on substance abuse, I’m going to share what I am able to, at this point in time.

I did touch upon the subject of drug and alcohol abuse, in my post regarding how I address mental health issues, in my fiction . Mental illness and addiction are closely related, so I would suggest reading that post, for further insights.

Now, let’s get into the tips for writing about characters with substance abuse issues.

Just one more quick note first, though – to mention that addiction covers much more than substance abuse. I recognise that addictions to gambling, shopping, and so on, are very real. I simply can’t deal adequately with those, in the context of this one post.

Drug addiction, alcoholism, and binge drinking are also subjects that feature heavily in my WIP, making it natural that I would make it a priority to discuss these matters, here on my blog. 2020 update: The WIP, referred to here, is my novel Distorted Perceptions , which was published this year .

It’s vital to know about the physical effects of any substances your characters are abusing.

That’s the absolute minimum, so start your research there.

Know how the drug alters the personality and behaviour of your character.

If a character is introduced to readers prior to the addiction, contrast and changes will be easier to demonstrate. Early warning signs should be evident.

Know in yourself, at least, how the character was before. It may mean delving into backstory. Was there any trauma, in the character’s past, that contributed to development of the addiction?

There will be some perceived benefits.

What does the drug do for the character? Does it numb physical or/and emotional pain? Ease symptoms of anxiety? Alcohol, for instance, is often used in an attempt to self-medicate, by sufferers of social anxiety.

There will be specific ways, in which the addiction clearly controls the character. Make sure that you show some of these.

How does the person fund their habit?

Any committing of crimes, such as burglaries? Has the addict become a dealer? And, of course, to say that it is not easy to escape those networks, is an understatement. Attempting to do so could place the person, along with loved ones, in very real danger. This would be an obstacle to recovery, even if the character was able to “get clean”.

How have relationships with family members and friends, who are not themselves addicts, been affected?

People, however close, will draw the line somewhere, and most will, ultimately, walk away. So much damage will have been done, possibly over years or decades.  There can come a point, at which the strain is more than the relationship can take.

Usually, an addict will reach a crisis point – rock bottom, basically – and then decide to change.

Is your character able to give up drugs, drink, or both – as applicable? Does the individual subsequently relapse?

Do your research regarding the long-term health implications.

There could be serious, and even fatal, physical health consequences. Equally so with mental health. The addict is at an increased risk of suicide.

Access your own inner darkness.

Even if you haven’t had the precise experience that you’re describing, you can probably relate, on some level, to aspects. If you were drawn to write dark fiction , in the first place, there’s a reason.

Survivors understand survivors. Research the specifics, but beyond that, write from the heart.

Writing about drug addiction and alcoholism is no easy task, but I hope that these tips will guide and inspire you, as you attempt to realistically portray substance abuse, in your fiction.

More specific information, regarding substance abuse and addiction

Connect with me on social media .

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12 Comments

March 13, 2018 — 3:11 am

This is a great post! I’ve been juggling the idea of writing a fantasy-style work that has some elements of substance abuse in it for a bit, but I have absolutely no experience (personal or otherwise) with the topic, so I’m afraid I won’t be able to do it justice. You listed a ton of things that I never considered, and I’m feeling inspired to go back and try to flesh out the story with more details. Thanks for sharing!

Like Liked by 1 person

March 13, 2018 — 6:41 pm

Thank you, Alex. I really appreciate your positive feedback, and I’m glad I was able to help. It was one of those posts I wrote partly because I struggled myself to find anything like it online. Good luck with your project.

March 14, 2018 — 6:58 am

Thank you for this post! I have a fantasy (epic/high) that revolves around an addiction as one of the primary plot struggles for the MC. While it is not substance or alcohol but rather an animal (yes, the MC is addicted to a beast) they consequences and questions you listed still apply. It brings to light many tips and ideas that I have not yet considered. Very helpful and thank you.

March 14, 2018 — 3:21 pm

Thank you for reading and commenting, Rhia. I’m glad that my post was able to help you. I agree that much of the information can be transferable, and apply to more than drug and alcohol addictions.

June 14, 2018 — 5:26 pm

Wow interesting stuff. Check out myvaliumstory. May give you a new perspective

June 14, 2018 — 6:27 pm

Thank you. And yes, I’ll take a look.

December 12, 2022 — 2:40 am

December 12, 2022 — 9:56 am

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Creativity and Alcoholism

Study shows that alcohol has seldom facilitated good creative writing.

Posted December 6, 2017

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In a systematic assessment I carried out of available pertinent biographical and autobiographical material regarding American alcoholic writers, reports indicated that very few did their actual writing, or even their thinking about writing, while under the influence of alcohol. Moreover, their writing was seldom successful when it was done under the influence of alcohol and, at various points in their lives, drinking absolutely interfered with their capacity to do any creative work. F. Scott Fitzgerald, denying the newspaper reports about his drinking said, "As a matter of fact I have never written a line of any kind while I was under the glow of so much as a single cocktail" (1). Ring Lardner, in the more pithy style for which he was famous, said, "No one, ever, wrote anything as well after even one drink as he would have done without it" (2). In a serious reflective way, the poet Robert Lowell said, "Nothing was written drunk, at least nothing was perfected and finished," and added, "but I have looked forward to whatever one gets from drinking, a stirring and a blurring"(3). Lowell's afterthought is worthy of some note because it points to some nuances and complications about the relationship between drinking and the creative process. Other authors reputedly have actually used alcohol as the kind of stimulant to inspiration that Lowell indicated.

Hemingway, at one point in his life, reportedly awakened regularly at 4:30 in the morning and started to write standing up, "with a pencil in one hand and a drink in the other"(4), and Fitzgerald also apparently used alcohol as a stimulant later in his life. Short story writer William Sydney Porter (O. Henry) wryly boasted, "Combining a little orange juice with a little scotch, the author drinks the health of all magazine editors, sharpens his pencil and begins to write. When the oranges are empty and the flask is dry, a saleable piece of fiction is ready for mailing" (5). Such reports and public statements must be considered cautiously. Writers make statements and give reports such as these in order to add to what they think should be a writer's public image. This image factor, as I shall explain below, even plays a role in the motivation to drink in the first place. In reality, the picture is quite mixed in many ways. Although some may indeed use alcohol to stimulate inspiration or, more accurately, to reduce inhibition, by far the majority find it to be an interference. Even Malcolm Lowry, who wrote about alcoholism and drank himself to death, was directly observed to work in the following way: "Lowry drank in order to avoid writing, sobered up in order to write, then drank in order to avoid writing" (6). Thomas Wolfe, who also almost destroyed himself with drink, was similarly directly observed as follows: "If he was sick or mentally upset or having trouble with his work, he would often use liquor as a kind of cure all or escape" (7).

Overall, the pattern of alcohol use in all the writers I studied was the same as for the ordinary alcohol abuser. By and large, they did not use alcohol while they were actively engaged in working and writing, but tended to drink when they were finished for the day.

Early in the course of their illness, they only drank regularly during after-work or evening hours. As the volume of their alcohol consumption increased, they became increasingly uncomfortable, irritable, and anxious during periods of the day when they were not drinking", including times ordinarily set aside for work. Then, in order to sedate themselves, they began to drink during work allotted hours. This pattern of drinking for sedation and relaxation, followed by jitteriness and anxiety when stopping and subsequently drinking again to produce sedation for those effects, is typical for any alcoholic ranging from the skid row derelict to the closet drinker in the executive suite.

One possible distinguishing feature for a writer—or for any artist—is that unlike other kinds of work activity, creative pursuits are often carried out in solitude. On the one hand, working alone may be a lonely affair, and on the other the artist is free to drink without interference or detection from others. This self-enforced loneliness together with latitude may enhance the proclivity to drink. Among the materials that I gathered, here is a fairly typical account given by John O'Hara to the columnist Earl Wilson about heavy drinking in relation to writing. It pertains to the creation of one of his most successful pieces, Pal Joey: My wife and I were... living at... 93rd and 5th [New York City] .... I had an idea for a story. I said to my wife, I'd go to Philadelphia. Hole up in the Hotel Ben Franklin a couple of days, lock myself in, eat on room service. Just work.... But the night before, we went out, and I got stiff. I got up next morning to start to the station, and I am dying. Now as we got to the Pierre, at 60th Street, I said to the cab, 'Stop here.' I went in. After a drink or two, I feel what-the-hell. Better take a nap. I check in. Then began a real beauty. Just getting stiff and passing out. I started Thursday. By Saturday morning I'd drunk myself sober. I picked up the phone and said, 'What time is it?' The girl says, 'Quarter after seven.' I asked her, 'A.M. or P.M.?' The girl said, 'A.M. and the day is Saturday.' They knew me there. At that point remorse set in. I asked, 'What kind of a God-damned heel am I? I must be worse'n anybody in the world.' Then I figured, 'No, there must be somebody worse than me—but who?' Al Capone, maybe. Then I got it— maybe some nightclub masters of ceremonies I know...That was my idea. I went to work and wrote a piece about a nightclub heel in the form of a letter. I finished the piece by 11 o'clock. I went right home...The New Yorker bought the story the same day, ordered a dozen more, and then came the play and the movie.That was the only good thing I ever got out of booze, but mind you, Wilson, I wasn't on a bender at the time I wrote. I was perfectly sober! Have you got that down in your notebook? (8) O'Hara describes the typical sequence of having" to drink the next day after starting the previous night and then continuing into the time of work. Certainly, he had been motivated to write a story early in this particular sequence but, except for inducing his guilt , one could not say that the alcohol intake itself facilitated the writing. O'Hara himself makes the point that he couldn't work while drinking". Even writers who have characteristically used small amounts of alcohol while working have eventually gotten into a pattern of drinking, then guilt, and then abstinence in order to write. William Faulkner could not drink at all when writing later in his life. The O'Hara account also illustrates what might be considered a causative— perhaps it would be better to say instigating— factor in writers' and other artists' heavy use of alcohol.

In many cultures, especially the modern American one, a certain tough guy or macho image is associated with heavy drinking and the so-called ability to "hold one's liquor." O'Hara's boasting manner to Wilson, along with a later comment by Wilson himself from this same account describing O'Hara as "a pretty good boy with the juice," illustrates such an image. It is not clear what has led to this macho image related to alcohol in this and other cultures, nor is it clear why writers and other artists might be attracted to it. An idea of achievement in the face of disability or bravery in the face of danger may be involved.

For male writers and other artists, there may be a particular need to counter widespread cultural images of effeteness or effeminacy or, in some cases, to deny actual latent homosexual tendencies. Sociologist Room (9) pointed out that many of the American Nobel laureates who were alcohol abusers were born in the late 1880's and 1890's and were part of a rebellious "lost-generation" literary subculture of the time. Particular ethnic cultural factors may also be involved. For example, many successful 20th-century writers in modern times have come from Irish backgrounds and there is a rather high incidence of alcoholism in that cultural group. Interestingly, drinking and masculinity are especially linked in Irish culture, a social factor some theorists have construed to be an overcompensation against the culturally enforced long period of Irish sons' dependence on their mothers. Several of the 20th-century writers on the earlier stipulated list have Irish backgrounds—John O'Hara, F. Scott Fitzgerald, Malcolm Lowry, Louise Bogan, James Agee, and other heavy drinkers such as James Joyce and Brendan Behan could be included as well. (There is, however, no simple way to connect Louise Bogan to the macho image.) These social explanations are only a small part of the picture; they do not adequately account for the individual factors in heavy alcohol use among so many highly creative people. Also, they do not explain how alcohol hinders or facilitates the creative process.

Although the list of drinkers here is striking, there is no proof of any consistent relationship between alcohol and creativity . If, for example, we drew up a list of all the great writers throughout history and placed it side by side with this group, we would very likely find that the number of non-alcoholic winters and even of abstainers far, far outnumbers the relatively small assemblage. Notably, five recent U.S. Nobel Laureates, Isaac Bashevis Singer, Saul Bellow, Toni Morrison, and Bob Dylan show no indication of alcohol abuse , nor, for that matter, did other greats such as Thomas Mann, Marcel Proust, or Shakespeare.

1)Le Vot, A. (1983). F Scott Fitzgerald: A biography. Garden

City, NY: Doubleday.

(2)Lardner, R.,Jr. (1976). The Lardners: My family remembered. New York: Harper and Row.

3)Hamilton, I. (1983). Robert Lowell: A biography. New York: Harper and Row.

(4)Meyers, J.(1985). Hemingway: A biography. New York: Harper and Row

(5)Davis, R. H. , & Maurice, A. B. (1931) . The caliph of

Baghdad: Being Arabian nights flashes of the life, letters

and work of O. Henry. New York: D. Appleton.

(6)Day, D. (1973). Malcolm Lowry: A Biography: New York:

Oxford University Press.

(7) Nowell, E. (1960). Thomas Wolfe: A Biography: Garden City, N.Y.: Doubleday.

(8)Bruccoli, M. J. (1977). An artist is his own fault. John O'Hara on writers and writing. Carbondale, IL: Southern Illinois Press

(9)Room, R. (1984). "A reverence for strong drink": The lost generation and the elevation of alcohol in the American culture. Journal of Studies on Alcohol, 45, 540-546.

Albert Rothenberg, M.D. , is a Professor of Psychiatry at Harvard Medical School.

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

Alcohol - quotes and descriptions to inspire creative writing

• bottle of wine
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The alcohol made me stupid in the way that fear can do.

With the alcohol I feel my prefrontal cortex go into standby mode and my primitive self put on its party shoes.

The whiskey was the amber that brought resolve to my soul.

Say what you want about alcohol, when times are good it becomes an updraft that raises the soul heavenwards.

I am always at a crossroads between adventure and shyness, at times the alcohol is a sensible choice to give my adventurous self a boost.

You can be drunk on fear and alcohol just the same, addicted to rumour as much as rum, yet words can also elevate the soul and a gin can be just the tonic one needs.

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How to Describe a Bar in a Story

By Isobel Coughlan

If you’re writing a scene where characters in your novel go out for drinks at a bar, this post is for you. Scroll down to learn how to describe a bar in a story through 10 adjectives.

Somewhere that’s full of positive energy, enthusiasm, and life.

“The vibrant bar stirred with optimism. All patrons were ready to drink up and have a fabulous evening.”

“She imagined her first drink in a vibrant bar full of eccentric characters. Turning 21 is going to be amazing!”

How it Adds Description

If you’re creating a positive image of a bar, the word “vibrant” shows your fictional bar is an exciting place to be. This adjective can also extend to the patrons in the bar, showing your reader they’re also fun people to be around. “Vibrant” is a useful word to show your bar is better than others, ideal if you’re creating a contrast between multiple bar locations.

Somewhere that’s dark, dismal, and negative .

“He decided to walk straight past the gloomy bar. He wasn’t desperate enough to drink there.”

“The gloomy bar beckoned patrons in and then sucked them into a depression for the rest of the evening with bad drinks and rude staff.”

Not all bars are happy places, and the word “gloomy” captures this misery well. “Gloomy” showcases what a miserable place your fictional bar is, and you can use this setting to show the dregs of your fictional society.

Somewhere very full of people .

“She tried to squeeze through the crowded bar, but it was no use. She couldn’t find a way out.”

“Being stuck in a crowded bar is my nightmare. I hate busy places and the smell of alcohol.”

Bars can get busy, especially if there’s an event or festive party on. “Crowded” can show how densely populated the fictional bar is, and you can use this adjective to show a character’s distaste for the busy atmosphere.

4. Deafening

Somewhere that’s extremely loud.

“The deafening bar was inescapable. No matter how many types of earplugs she tried, she couldn’t get away from its music or chatter.”

“That’s the last thing we need. Another deafening bar on the street.”

“Deafening” shows how extremely loud a place is, which is ideal if you want to paint an image of a bustling and busy bar. When used in characters’ speech, this shows how much they dislike the extra noise, giving the reader a clearer understanding of their personality. It can also emphasize how unpleasant the noise is, as people are complaining about the sound levels.

5. Daunting

Something that makes people feel worried or afraid .

“She crept past the daunting bar. The frequent drinkers in the dingy establishment scared her.”

“He didn’t want to visit the daunting bar, but he knew he had to make an appearance for the sake of his family.”

The word “daunting” is a powerful way to show a character’s secret feelings about the bar. This word shows they’re not fond of the place, thus letting the reader know about their inner fears and the negative atmosphere of the bar setting. This can also foreshadow future plot points that involve the bar.

6. Sensational

Something that’s remarkable, interesting , or extremely exciting.

“What a night! That bar was sensational, and we must visit again tomorrow!”

“Excuse me, it’s my birthday, and I need to visit a sensational bar. Can you point me to the closest one?”

The word “sensational” evokes feelings of excitement and drama, which is perfect if you want to show the atmosphere of your fictional bar or your character’s personal excitement. This word also can also hint that the bar is one of the best around or especially high-quality, as it’s a very positive adjective.

Something that’s very large .

“The immense bar towered over the other buildings. You couldn’t miss it.”

“She stood on the balcony of the immense bar and watched the world go by. It was peaceful being above the world.”

If you want to show the large size of your bar, “immense” gives your reader a unique image of the building’s stature. This word can also show a character’s feelings about the bar. For example, they might think it’s extremely impressive. “Immense” is generally used as a positive adjective, ideal for fictional bars that are awe-inspiring.

Something that’s too expensive .

“You’re going to the costly bar? Did you win the lottery or something?

“It was a costly bar, but the prices were worth it. Everything was glamorous, from the drinks down to the toilets.”

“Costly” shows a character’s thoughts about the prices of the bar, and this can imply that they don’t like exclusive establishments. The adjective can also hint at how your character doesn’t like spending money, and the bar triggers stressful feelings within them surrounding money.

9. Indecent

Something offensive or shocking.

“I’m a lady! You’d never find me in an offensive bar like that.”

“The offensive bar drove away customers every night. She wished she could give it a makeover, but it wasn’t worth her time.”

Bars are often associated with bad behavior and illegal activities. If you want to emphasize the unruly nature of your bar, the word “indecent” can show how the local society perceives it. This also shows your fictional society has a strong moral code and high ideals.

10. Vintage

Something old but admired and respected.

“She longed to visit the vintage bar. Something about old-timey cocktails and grand interior decor tickled her soul.”

“As he stepped into the vintage bar, he felt like he was transported back in time. It was an incredible feeling.”

“Vintage” shows your bar isn’t from the current period or is decorated to look older. This word can also portray a character’s fondness for the aesthetic, which can further hint at a fondness for times before the present moment. “Vintage” could also hint that the bar is grand and impressive, as the adjective is often associated with high-quality old things.

A Guide to Descriptive Writing

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

What is descriptive writing?

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

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

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

What is Descriptive Writing?

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

The term descriptive writing can mean a few different things:

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

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

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

How Much Description is Too Much?

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

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

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

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

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

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

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

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

Descriptive Writing Tips

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

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

Here are some general tips for descriptive writing:

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

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

10 descriptive writing practices.

How to Practice Writing Description

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

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

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

Descriptive Writing

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

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

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

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

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

Thank you for this. R.G. Ramsey

You’re welcome!

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

You’re welcome, Bella.

Hello Melissa

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

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

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

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

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

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

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

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

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

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

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Alcoholic - creative writing.

“A good morning to you all!  This is Sara Cox on Radio One, it’s 6:35 a.m., and here is Steps!”

“What!  Oh please no, please, not Steps!  Not first thing on a Monday morning, that’s all I need!”  I jabbed out in frustration, desperately trying to stop my alarm clock from blasting out tacky pop music.  As you can tell I’m not Step’s biggest fan.  I dragged myself out of bed, quite literally, and headed off to the bathroom where I jumped in the shower, as quickly as possible and turned up the water as hot as I could stand it.  As I rubbed shampoo into my hair, I began to contemplate on how miserable life is.  I seem to spend plenty of time thinking, more than is good for me anyway.

I suppose I should introduce myself.  My name is Jenny, Jenny Smith.  I'm 16 years old, I have black hair (dyed!), blue eyes, I'm quite short, thin, not particularly attractive.  If I filled out one of those dating agency forms I’d probably tick the box: average in the attractiveness section! Okay most of my friends would probably disagree, but hey, that’s their opinion!  I live in Manchester (and no, I don’t support Manchester United!) on the outskirts, 12 Windsor Terrace is my house.  Anyway, that’s enough about me, I'm quite dull and uninteresting really, or so most people seem to think.  

As I strolled casually down the road, hoping to miss my train, and therefore the first hour of school, suddenly I caught sight of my mum…

“Jenny!”  She was running down the road, after me in her snoopy dressing gown and pink fluffy slippers, towel on her head, the lot!  How embarrassing!  “You’ve forgotten your lunch!”  She yelled.

“Mum!”  I muttered quietly, surprised she actually remembered I exist.  I was desperately hoping no one would hear me. It would be all round school that my mum is a crazy, dressing gown, pink fluffy slipper-wearing mad woman!  

“Okay, thanks mum.  I’d better run, or I’ll miss the train.” I only hoped no one I knew would see me with my mum!  I hurried in the direction of the train station; I could get the train to the town centre. Oh the stress of teenage life!

This is a preview of the whole essay

The town centre is my favourite place, a place I can seek refuge.  It may not be paradise, but for me it comes closer to it than anywhere else at the moment, home and school.  The endless mass of people littering the streets comforts me; it’s a place I can be anonymous.  I quickly made my way into ‘Starbucks’, looked at the menu and ordered the coffee with the longest name.  As I sat down to drink my double tall de-caff latte with hazelnut syrup, I wondered how many times it would take before the teachers actually noticed I’d been absent from school for the past week.  I’ve always been quiet; I suppose I keep myself to myself, but surely they’d notice if someone went missing for a week, even me.   I don’t know why I'm so invisible to everyone, I can’t understand why.  Believe me, it’s not as if I don’t try to fit in, I really do. I just feel as if I have no place in life.  I can't turn to my family because my Dad’s in prison, and my mum, well she wouldn’t really care to be honest, all she thinks about is where her next drink is coming from, and how she's going to pay for her fags: 20 a day she’s on.  I keep telling her, she’ll be dead before I am but she just laughs and the drink, and if she carries on…well I dread to think what will happen.  I do love my Mum, but I wish she would think about someone other than herself for once.  All she cares about is feeding her addictions. She doesn’t care about us, her four children, I know I can pretty much look after myself, but what about Daniel, James and Lizzie. Daniel‘s only two and I look after him more than Mum does.  Lizzie and James are seven; they’re going through the stage at the moment where they’re constantly hyper!  They insist on running around the house and shouting at the top of their voices.  They completely wreck the house, and I get the blame.

“Jenny, you should have stopped them, are you stupid girl?  What were you thinking letting them make such a mess?”  It’s the same every time, Jenny this, Jenny that, I’m just fed up!

 “Hi Mum, I’m home.”  

“Oh, yeah hi.”  She slurred.

“Mum have you been drinking?” If she’d been at it again I swear I would kill her.

“Whaat…oh yeah jusss a bit.”  

Oh god, what am I going to do?  She’s probably left Daniel on his own, and…That does it!

“Mum!”  I screamed.  “Come here now!”

“What have I done now?”

“Nothing, you’ve done nothing!  I'm fed up!  You just sit on your behind and drink all day, look at you you’re drunk!  You disgust me.  I don’t know what’s wrong with you, but you need some serious help.  I'm only 16 and look at me; I’m more of a Mum than you are.  Who looks after the kids?  Me.  Who cleans up after you?  Me.  I’ve had it up to here with you Mum.  Until now I've been patient, but now, that’s it!  No more looking after kids, no more cleaning, I can't take it anymore, I don’t need this.

“Jenny, come back…”

Despite my Mum’s desperate but futile attempts to pursue me I ran, tears steaming down my face, I ran.  I didn’t care where I was going; I just wanted to get away, away from my Mum, away from her drinking, away from responsibility.

After about 5 minutes I felt my legs begin to give way beneath me.  I’d been running so fast.  I collapsed onto the pavement, a crumpled heap.  

“Ow!”  I cursed as I hit the ground.  I had now probably twisted my ankle, as well as having cramp in both of my legs.  Suddenly reality struck me; I was sitting in the middle of the pavement!  

“What am I doing?”  I tried to get up but I couldn’t, my ankle hurt so much.  So much for getting away!  I’d run about half a mile, and now I was stuck here.  I tried to call for help, but there was no one around.  

“Oh, great, this is just fabulous, I'm stuck sitting on the ground, looking like a complete idiot, and in immense pain.”  

I wished I hadn't got myself into this mess, that’s what it was, one big mess.  I wish my life could just be normal like everyone else.  I wish my dad was back, and I wish my Mum would just get some help, admitting you have a problem is the first step to recovery.  I just can't believe she would let things get this bad.  I know she was really depressed when dad went down, but that’s no excuse to abandon her children, we need her.  Drinking endlessly is not going to make the problem go away.  I just wish there was something I could do, but there isn’t.  I know running away seems stupid but I've been going over it in my head for so long now, and I just don’t know what else I could do, I just can't face it anymore.  As for school, that’s not helping.  The others treat me like dirt, I may be poorer than a lot of them, but that doesn’t give them the right to beat me up, does it?  I just wish they’d leave me alone, it’s come to the point where I'm too afraid to go to school.  One of these days they’ll go too far, and I’ll end up in hospital.  I’ve tried to make friends, but because I come from a different background, we just don’t get along.  I don’t know where to turn; I have enough problems at home without being beaten up at school.  What have I done to deserve this?  I don’t understand.  All I want to do is help my Mum, but I don’t know where to start.

“You all right, love?”  A middle aged woman approached me looking concerned.

“Um, I’ve hurt my ankle, can you help me up?”

“I think we need to get you to hospital, dear.”

“No, really I’m fine, if you just help me up I’ll be on my way.”

I tried to make out I was okay, going to hospital was the last thing I wanted to do.  They’d start firing questions at me, they'd make me go back home.  No way was I going back, not now.  

“Well if you’re sure, but I don’t think it’s wise.”

“Thanks for your concern, but really I'm fine, just leave me alone, okay!”

“Well I'm sorry!  All I was trying to do was help you, but if you’re going to be like that, then, well…Well that’s your problem!”

I sometimes wonder why people can't mind their own business, why couldn’t she just leave me alone!  Anyway, I'd better decide what I'm going to do.  I don’t know anyone that lives in Manchester, not even any relatives.  I suppose I’ll have to sleep rough tonight; maybe I can find a shelter or something.  I need to sort out my Mum; I'm not going back there.  Aren’t there those alcoholics meetings you go to, what are they?  The ones where you stand up in a circle and say my name’s Fred and I'm an alcoholic.  What are they called?  Oh yeah, alcoholics anonymous.  I could find out the number for the nearest one, and get Mum to go.  If she refuses then that’s simple, I won’t come home.  I’ll give her an ultimatum: drink or me.  If that doesn’t work, well, well I’ll cross that bridge when I come to it.  

Document Details

• Word Count 1771
• Page Count 4
• Subject English

Related Essays

creative writing

Creative Writing

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

Describing Breathing in Creative Writing

By: Author Paul Jenkins

Posted on April 7, 2022

Categories Writing , Creativity , Storytelling

When writers talk about how they infuse their work with sensory detail, it’s usually about describing the color of something or what a character’s hair looks like. Let’s face it: breathing is one of the things we take for granted as humans. We do it so unconsciously that most people don’t even realize when or why they’re breathing. Our breathing rate changes with our emotions – it can be fast and shallow when we’re anxious, and deep and calm when we’re relaxed. As a creative writer, you can make your descriptive writing more vivid by incorporating more sensory information into your novel or story.

What’s in a Breath?

When thinking about how to describe breathing in your novel, ask yourself what you want to convey. Word choice matters.

If your character is having a panic attack, she takes short, shallow breaths.

A character preparing for a fight will have more controlled breathing; their breaths will be slow and steady and then become faster and shallower as the adrenaline kicks in.

Shallow breathing can also indicate stress or panic, as the fight starts to go badly, for example.

At a lull in the fight, the character might start heavy breathing, to get enough wind to continue.

During or after the fight, pain can come through the breath.

Just as the reader can get information about a character through their actions, they can also find out who they are by the way they breathe.

This technique is useful when you’re writing a suspenseful scene and building tension or fear.

If there’s something sinister under the bed and your protagonist’s heart is racing, you should express it through her breathing: “heart-pounding,” “breath coming in short gasps.” When you describe their breathing in this way, the reader senses that something is wrong because it deviates from normal behavior.

Take a Deep Breath

That was a deep breath, and you’re still reading. Good!

Now let’s go over the basics of describing breathing in creative writing:

• Sensory details can tell you a lot about a person’s state of mind. For example, when you take a deep breath through your nose before speaking in public, what does it smell like?
• What does it sound like as the person exhales?
• Describing breathing in terms of sensory input is an effective way to convey the main character’s thoughts to readers and help them understand why the character does or doesn’t feel prepared for the challenge that awaits them.
• As with any literary device like an allusion or a metaphor (and yes – breathing is a literary device), don’t overdo it. A character who takes a deep breath more than once per scene may be perceived by readers as weak-willed or indecisive, and that’s not always what you want them to think of your main character; again, use this technique judiciously unless that’s exactly the aspect of his or her personality you want to emphasize!

In the context of creative writing, holding your breath means that tension is rising. As we’ll see in the last example, you can achieve this effect by describing exactly how long someone held his or her breath.

But what else happens when someone holds their breath? How do they feel? What’s going on inside him or her?

• The first thing that happens, of course, is that they stop breathing. The need to breathe becomes stronger and stronger as the oxygen level in the blood decreases. This causes blood pressure to rise and pulse rate to increase. Over time, the body compensates for the lack of air supply by increasing the carbon dioxide content in the body; it’s easier to keep the blood pumping with an increased CO2 content than with low oxygen content.
• Soon this leads to headaches, dizziness, and disorientation (which can make breathing difficult).
• After a few minutes of not breathing, your heart starts beating irregularly due to the low oxygen level in the blood: fast or irregularly at first, then slower and slower until it stops completely – and when your heart stops beating, you’re dead.

There may be scenes where you can use physiology to increase tension, but be careful not to overdo it. Emphasize the characters’ reactions, not their physical reactions.

Breathing on Other Characters

Another approach is to describe how one character’s breath affects another character. You might focus on how another person’s breath affects your narrator: “The scent of her perfume filled my nostrils as she approached me, and a hot breath came from her lips as she spoke.”

You could also write about how your narrator’s breath affects another character, “His eyes widened as he smelled the alcohol on my breath. When I sighed, he froze and stared at me. My sighs quickened as I watched him for a reaction that didn’t come.”

Some more examples:

• The warmth of her breath sent shivers up and down my spine.
• His words hit me like blows to the stomach, each one robbing me of breath.
• A breath of warm air tickled the back of my neck, making me tense in anticipation before relaxing again with a sigh.

Let It Out Slowly

Once you take a deep breath, how should you exhale it? Here are a few ways:

• Through the mouth. This could be an expression of relief, frustration, or exasperation. It could also show that the person is trying to maintain control. A controlled breath can be indicated by exhaling through pursed lips like a whistle.
• Through the nose. This is often described as a snort of derision or disbelief and is used to show that your person finds something ridiculous or silly.
• The actual sound of breathing can also be described as a sigh, laugh, sob, groan, gasp, sharp breath, or even a scream or laugh (we’ll get to that later).

Where the Breath Happens

It’s most natural to inhale through your mouth. If your character needs a deep, restorative breath or a soothing sigh, mouth breathing will probably suffice.

Nose Breathing

If you want to fine-tune your character’s breathing, you can have them breathe in or out through their nose. Nasal breathing can bring smells into the character’s awareness and draw attention to sensory details in the text.

Exhaling through the nose lends a sense of sophistication and refinement to characters who otherwise lack such qualities (e.g., snobby professors and refined criminals).

Pursed Lip Breathing

Pursed lip breathing is an interesting technique because it evokes certain emotions such as frustration, anger, annoyance, and sadness…

When you’re forced to breathe this way, certain emotions are naturally evoked, making your text more organic without having to tell you exactly what’s happening on an emotional level in every scene.

Breathing Is Automatic and Easy to Forget About, but It’s Important to Life and Your Writing

Breathing is a reflex action that’s automatically controlled by the central nervous system. That means you don’t have to consciously think or make an effort to perform it. It’s basically as important to life as water and food.

On average, a person breathes in and out between 12 and 20 times a minute when at rest. Whether you’re running, sleeping, or sitting down to read this article, your body is constantly taking in oxygen and releasing carbon dioxide.

Respiration is a reflex that’s constantly going on in the background, keeping us alive as we go about our daily activities – it’s easy to forget about it and only notice it when something goes wrong.

Breathing can be considered an involuntary activity, meaning it happens without us having to make the conscious decision to breathe.

However, since breathing has both a voluntary and an involuntary component (you’ve to decide when to speak or sing), there are some ways your character can control breathing.

It’s Used as a Literary Device in Fiction

As you may recall, literary devices are the tools fiction writers use to create meaning, emotion, and imagery.

Examples include:

• Similes and metaphors.
• Onomatopoeia and alliteration.
• Personification is also included. Personification involves ascribing human characteristics to an object or idea.

Authors may use a short breath to show tension or nervousness: “She could barely catch her breath.” The author uses this phrase to convey how tense and frightened the character is.

A long breath can also be used to express relaxation: “Her breathing was slow and deep.” In this case, it’s not so important what the character is feeling, but where their thoughts are.

When someone says that their heart is beating or pounding in their chest, we understand that he or she’s nervous or excited about something. If a character in your story breathes loudly, it means he or she’s worried or anxious-or that he or she may even be looking forward to something.

Reveal a Lot About Their Emotional State, Physical Condition, Health Status, and More

You can use breathing in any piece of writing that features a character. For example, if you are writing a novel, short story, or play, you could consider showing the reader how a character is feeling by describing their breathing.

This will not only tell the reader what your character is experiencing but also reveal different things about their emotional state, physical condition, and health.

Your character may experience several different reactions throughout your writing and the quality of their breathing will change depending on these experiences.

• “The nurse held the stethoscope to his chest and listened carefully as he breathed in and out.”
• “The man had been following her for blocks now, and she could feel his breath on the back of her neck.”

Of course, you can use breathing as more than just an indicator of emotion and health. It’s a great metaphor for lots of things: life or death situations, taking on too much work at once, or even being afraid to take chances on love.

• Think about the bigger picture. Should you describe your character’s breathing at all? Will it help the reader know what your character is feeling?
• Consider how much information to give the reader. Do you want to give more information or less?
• Decide which perspective to use (first person, second person, or third person) and decide whether to use multiple perspectives in one piece of writing.

Showing how a character reacts can be very useful for readers as well as for showing a sense of time and place. In creative writing, this often means describing a moment that shows us something about a character like her nerves, her anxiety, or her excitement.

Describing Breathing Creatively

A compelling description in your story can be the difference between an otherwise forgettable scene and an engaging one.

The best way to do this is to keep a few things in mind.

• When characters breathe in creative writing, try to avoid using “breathe” repeatedly by simply replacing it with synonyms like “gasp.” Start by opening a thesaurus
• Use action verbs to make your character’s breathing sound more like a natural part of their surroundings.
• Use descriptive adjectives to describe the feeling of exhaling. Describe the rate and rhythm of the breathing. For example, someone might be “panting” or taking “shallow breaths.”
• Don’t be afraid to use metaphor or simile when describing breathing in creative writing-it will add life and color! You could also use similes to create an analogy, like comparing someone’s breath to steam on a cold morning. You could also compare it to waves lapping on the beach or butterflies fluttering. But keep it within the realms of your genre and context!
• The more creative you are with your description of breathing, the more effective your writing will be at bringing your reader into the scene!

Make Readers Feel What Your Characters Are Feeling

I hope some of these suggestions will help you add excitement to your description of breathing and make readers feel what your characters are feeling.

In general, it should be used to draw attention to a character’s emotional state or when the character is excited or stressed. It’s one of those writing skills worth developing.

A few more options include:

• Describe how far apart breathing becomes. When people are nervous, their heart races and they take rapid breaths. This is a simple way to show that a person is anxious without having to write out their inner thoughts.
• Does someone’s age affect their breath? An older person might become short of breath with strenuous activity, whereas a younger person could be fine with the same amount of exertion.
• Don’t forget body language combined with breathing as a way to depict character or situation.
• How about using other senses in combination with breathing? If someone has just eaten spicy food and needs water, describe how every time they try to breathe, the scent of hot peppers wafts into their nose.

Breathing Sounds and Words for Creative Writing

• Hyperventilate

Alcohol and creative writing

Affiliation.

• 1 Simon Fraser University, Vancouver, BC, Canada.
• PMID: 1410124
• DOI: 10.2466/pr0.1992.71.2.651

A repeated-measures design was used to test for the effects of alcohol on creative writing as measured by use of novel figurative language. 11 male social drinkers participated in a creative writing task under two conditions, alcohol (high dose: 1.1 ml. ethanol/kilogram body weight) and placebo. In the alcohol condition, within-subject comparisons indicated significantly greater quantity of creative writing while intoxicated. These results were interpreted as supporting the belief that alcohol can reduce "writer's block," at least amongst nonalcoholic subjects.

Publication types

• Clinical Trial
• Randomized Controlled Trial
• Alcoholic Intoxication / psychology*
• Creativity*
• Thinking / drug effects