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Fireplace - quotes and descriptions to inspire creative writing

• chimney sweep
• fire proof lover
• Fireplace mantel
• mantlepiece
• Striking a match

The fireplace upon wintry nights glowed with radiant gold flame.

The fireplace brought a dancing glow into the heart of our home.

The fireplace is the poetry of the phoenix in confident gold flame.

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KathySteinemann.com: Free Resources for Writers and Poets

Word lists, cheat sheets, and sometimes irreverent reviews of writing rules. kathy steinemann is the author of the writer's lexicon series..

500+ Ways to Describe Fire: A Word List for Writers

Fire, Flames, Inferno …

Since ancient times, humans have known about fire. We have feared it, welcomed its warmth , and harnessed its power.

John Wesley said that if you catch on fire, people will come for miles to see you burn. He understood the intrinsic attraction flames represent for most people.

The Greek philosopher Plutarch said that the mind is not a vessel to be filled but a fire to be kindled.

One of Ray Bradbury’s characters in Fahrenheit 451 voiced his thoughts about fire: “It’s perpetual motion; the thing man wanted to invent but never did. … If you let it go on, it’d burn our lifetimes out. … It’s a mystery. … Its real beauty is that it destroys responsibility and consequences. … Antibiotic, aesthetic, practical.”

Would your WIP benefit from a few flames?

Careful selection of adjectives reveals opinions .

An arsonist might refer to a structure fire as irresistible, majestic, or resplendent. However, a fire fighter might view it as catastrophic, devastating, or uncontrolled. Maybe a couple in love would gaze at the flames in a fireplace and consider them beautiful, cheerful, or romantic. An ancient priest?  Perhaps his fire is ceremonial, holy, or sacred.

Choose descriptors with care, researching the definitions if necessary. For example, pyrotechnic refers to grandiose displays such as fireworks or a rock band’s lightshow, while pyrotechny , although sometimes used interchangeably with pyrotechnic , more correctly refers to the use of fire in alchemy.

Beware flammable and inflammable . Some readers will think the first word means “to catch fire easily” while the second means “impervious to fire.” But these words share the same definition: “easily set on fire.” Better to stick with straightforward words such as combustible and fireproof.

In addition to the words in the following list, you can create many adjectives by adding -ing or -ed suffixes to verbs.

A and B ablaze, accidental, aflame, alight, angry , benign, beautiful , blinding, bright, brilliant, brisk, brutal

C capricious, catastrophic, celestial, ceremonial, cheerful, cheery, chemical, clean-burning, cleansing, close, coal, cold, concentrated, constant, contained, cozy, cruel

D dangerous, dead, deadly, deliberate, deliberately set, dense, destructive, devastating, disastrous, distant, divine, dormant

E effulgent, electrical, elemental, empyreal, endless, enraged, erratic, ethereal, everlasting, evil, expansive, explosive

F to H feeble, fiendish, fierce, forked, furious, gas, ghostly, glorious, greedy, harmless, hazardous, heavenly, hellish, historic, holy, huge, hungry

I impure, incandescent, incessant, indefatigable, ineffectual, inefficient, infernal, infinite, innocuous, insatiable, intense, invincible, invisible, irresistible

L and M latent, life-threatening, liquid, live, luminous, magical, majestic, malevolent, malignant, massive, memorable, merciless, molten, monstrous, murderous, mystical

N to P noiseless, noisy , open, out-of-control, Pentecostal, perpetual, persistent, phantom, phosphorous, pitiless, pleasant, portentous, potent, purgatorial, purposeless, pyrotechnic

Q and R quenchless, radiant, radioactive, random, rapid, ravenous, raw, red-hot, relentless, resplendent, righteous, rolling, romantic, ruthless

S sacred, sacrificial, savage, silent, sinister, slow, sluggish, small, smokeless, sporadic, subterranean, sulfurous, suspicious, swift

T and U terrible, thermonuclear, thick, torrid, unceasing, uncontrollable, uncontrolled, unending, unexpected, unholy, unquenchable, unremitting, untamed, useful, useless

V and W vehement, vicious, vigorous, volatile, volcanic, wanton, warm, wasteful, wayward, welcome, white-hot, widespread, wild, wondrous, wood-burning, wrathful

Similes and Metaphors

Many similes and metaphors border on cliché. Try to replace them with more direct terms ( except in dialogue ). For example:

Hot as fire: blistering, boiling, broiling, searing, sizzling, torrid

Like a house on fire: fast, speedy; dynamic, robust, vigorous

Spread like wildfire: disseminate or circulate rapidly

Fire of passion: ardor, fervor, fever, hunger, lust

Fiery anger: fury, outrage, rage, wrath

Many fuels produce colorful flames. Pyrotechnic displays take advantage of this fact.

Blue: butane, copper chloride (cuprous chloride)

Green: borax, (laundry additive, ant traps), boric acid, copper sulfate (cupric sulfate)

Orange: calcium chloride, sodium chloride (table salt)

Pink: potassium chloride

Red: lithium chloride, strontium chloride, strontium nitrate

Yellow: barium chloride

Carbon monoxide burns orange or yellow, whereas a properly functioning gas stove will burn blue. Hot candle flames are light blue, cooling to yellow, then orange, and finally, red.

See also 1000+ Ways to Describe Colors .

Characters and/or objects might:

• add paper, coal, or wood to a fire
• blow on a fire
• build a fire
• bury a fire, embers, or coals
• cast fireballs
• cloak a fire
• conceal a fire
• cook over a fire
• cuddle next to a fire
• discharge tendrils of fire
• douse a fire with water, dirt, or sand
• dry hair, body, or clothing in front of a fire
• escape a fire
• extinguish a fire with water, dry chemicals, or sand
• feed a fire
• fight a fire
• find a fire (perhaps by monitoring thermal images from an aircraft)
• fireproof an object
• fling fireballs
• fling tendrils of fire
• gaze into a fire
• hurl fireballs
• ignite a fire
• kindle a fire
• light a fire
• nestle next to a fire
• put out a fire
• quench a fire
• set fire to something
• set something ablaze, aflame, or afire
• shoot fiery arrows
• snuff out a fire
• snuggle in front of a fireplace
• spit-roast meat over an open fire or hot coals
• squat next to a fire
• stare into a fire
• stir a fire
• stoke a fire
• tend to a fire
• throw wet sacks over a fire
• torture someone with fire
• toss something into a fire
• warm oneself by a fire
• watch a fire
• worship fire

Fire or flames might:

A and B advance, ascend, assault, attack, bake, belch, besiege, blacken, blanket, blast, blaze, blister, blossom, blow out, boil, burn (down, out), burst (out, through)

C carbonize, cascade, cast a glow, catch, cavort, char, chase, cleanse, combust, confuse, consume, cook, coruscate, cover, crackle, creep, cremate

D and E damage, dance, decimate, deflagrate, deluge, destroy, devour, die, eat, embrace, engulf, enkindle, explode

F fizzle (out), flame (out, up), flare (up), flash, flicker, fly, follow, frighten, fulgurate

G to I glare, gleam, glow, gorge, grope (for), gush (up), harden, heat, hiss, hurdle, hurtle, ignite, illuminate, immolate, incinerate, inundate, invite

K to M kill, kindle, lap, lash, leap (into life), lick, light (up), linger, loom, mesmerize, move

O to R overtake, overwhelm, play, pop, purify, race, radiate, rage, rampage, reach (for), retreat, rip through, roar, roast

S scintillate, scorch, sear, shoot, simmer, singe, sizzle, smoke, smolder, snake through, snap, spark, speed, spill, splutter, spread, sputter, start, surge, swallow, sweep (over, through), swelter, swirl

T to W tear through, threaten, twinkle, wander, whip, whisper

Many water words can also be applied to fire.

There is a huge difference between a campfire and a wildfire, a fireball and a firestorm. A few nouns that could replace fire include:

A to W avalanche of flames, ball of fire, blaze, bonfire, brushfire, bushfire, campfire, conflagration, curtain of flames, fireball, firestorm, flames, forest fire, grassfire, inferno, sea of flames, sheet of flames, tsunami of flames, wall of flames, wildfire

Props, whether objects, events, or people, add to a storyline:

A accelerant, alarm, alert, ambulance, arson, arsonist, ash, ax

B backdraft, barbecue, barricade, bellows, blister, blowtorch, boiler, bomb, bottle bomb, brazier, broiler, bucket brigade, burns, bush, butane

C C-4, candle, chain reaction, charcoal, chemicals, chimney, cigarette butt, cinders, clinkers, coal, combustibles, combustion, cookstove, cremation

D and E dynamite, embers, EMT, explosives

F fire brigade, fire department, fire eater, fire escape, fire extinguisher, fire hose, fire insurance, fire pumps, fire ring, fire screen, fire striker, fire trench, fire triangle, fire warden, fire watch, firebrand, firebreak, firebug, firecrackers, firedamp, firefighter, fireplace, firestop, fire-suppression system, fireworks, flame-keeper, flamethrower, flammability, flash, flashover, flashpoint, flint, foam, fuel, fumes, furnace

G and H gas, gas lamp, gas leak, gas stove, gasses, glare, glow, grill, halon, hearth, heat, heat sensor, heat signature, heater, heat-resistant clothing or uniform, hellfire, hoops of fire, hose, hose nozzle, hydrant, hydrazine

I to K IED, ignition, illusionist, incandescence, incendiary device, infrared energy, insurance adjustor, insurance investigator, intensity, investigation, jet, jet fuel, kerosene, kerosene heater, kiln, kindling

L to N laser, lava, lighter, lighter fluid, lightning, logs, luminosity, magician, magnesium, matches, meth lab, microwave oven, Molotov cocktail, napalm, natural gas, necromancer, nitroglycerine

O and P oast, odor, oil, oil drum, oil tanker, origin, oven, paramedic, petrol, petrol bomb, petroleum, plasma, police, potassium, prevention, propane, propane tank, pyre, pyromania, pyrophobia, pyrotechny

R rescue vehicle, retardant, risk, rocket, Roman candle

S sacrifice, shovel, siren, smell, smoke, smoke detector, smoke signals, soot, sorcerer, sparks, sparkler, speed, spontaneous combustion, sprinkler system, sprinklers, suppressant, swath

T to V thermal camera, thermal imager, thermal images, thermal radiation, tinder, TNT, toaster, toaster oven, torch, trees, trench, victims, volcano, volunteers

W to Z warlock, water main, welder’s mask, wick, witch, wizard, wood, woodpile, zip fuel

Clichés and Idioms

Too many repetitions of fire in your WIP? Locate phrases such as the following and replace them with shorter alternatives.

fire in one’s blood: ardor, fervor, passion, zeal

fire of life: elan, enthusiasm, gusto, vigor, vivacity

to fight fire with fire: counter, fight back, get even, retaliate

to go up in flames: be destroyed, burn, combust, disappear, explode

to light a fire under: coerce, impel, induce, prod, push, urge

to pass through the fire: desensitize, harden, inure, test, toughen

to play with fire: endanger, gamble, jeopardize, risk

too many irons in the fire: inundated, overwhelmed , swamped

trial by fire: gauntlet, ordeal, stress, test

Are You Interested in More Word Lists and Writing Tips?

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12 thoughts on “ 500+ Ways to Describe Fire: A Word List for Writers ”

I’m trying to create the right atmosphere for a character who escapes a burning facility as the last survivor of a great tragedy, and the flames she’s watching in the distance are a bright, neon green color.

She also has to listen to the factory workers and her previous Master and Creator burn to the death, the latter of which she feels deserves it.

Good luck with your scene, Rhonda. I hope you found a few words and phrases here that helped you.

Thanks for stopping by, and stay safe!

Wow, so helpful. Writing a fantasy, involving many fire related ceremonies. Thanks so much, you truly are a saviour.

Thanks, Ana. Good luck with your fantasy, and stay safe!

It’s great to see all these words related to fire in one place, but I don’t see the sense in putting them in alphabetical order. Surely ordering them in any other way would be more productive?

Thanks for stopping by, Peter.

How would you reorder them? 🙂

I love word lists. Thank you!

🙂 Any words you’d like me to research, Leslie?

Gee, Kathy, you are an angel- the Cheraubim kind with a flaming sword. Just last evening, my husband and I were discussing ideas for my next murder mystery, involving the third husband of his great aunt, The poor man died in a bonfire in his back yard. (His two predecessors passed away under rather questionable circumstances as well.) I’m book-marking your post. Thanks!

Thanks, Mary! Your novel sounds intriguing. I hope you find a few ideas here.

As ever, a great post and a great resource. Thank you 🙂

Thanks, Simone. This post got me all fired up. 😉

Comments are closed.

Igniting Passion: Describing Fire Creative Writing

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

Finding inspiration: Exploring the power of fire in creative writing

Understanding the essence of fire: symbolism and its impact on storytelling, embracing the elements: techniques to bring fire to life in your writing, fueling creativity: using fire as a catalyst for character development, creating vivid imagery: descriptive writing techniques to depict fire effectively, mastering the art of tension: utilizing fire as a source of conflict and suspense, unleashing your inner fire: exercises to ignite passion in your writing, crafting powerful endings: the role of fire in symbolism and resolution, frequently asked questions, future outlook.

The hypnotic dance of flickering flames has captivated human beings for centuries, inspiring countless tales of courage, destruction, and rebirth. Fire, in all its forms, possesses a raw power that can evoke a wide range of emotions and ignite the imagination of writers. Whether it represents warmth and comfort, fierce determination, or uncontrollable chaos, fire has the ability to add depth and intensity to any piece of creative writing. Below, we delve into the multifaceted aspects of fire and explore how it can become a powerful tool in the hands of a skilled writer.

1. Sensory experience: When writing about fire, vividly describe the sights, sounds, and smells associated with it. Let readers feel the radiating heat on their skin, hear the crackling of burning wood, and catch a whiff of the smoky aroma lingering in the air. Such detailed sensory descriptions transport readers into the scene, allowing them to fully immerse themselves in the story.

2. Symbolism and metaphor: Fire carries a wealth of symbolic meaning in literature. It can embody passion, transformation, or destruction, depending on the context. Use fire as a metaphor to convey intense emotions or to illustrate significant changes within your characters or plot. By skillfully utilizing this powerful imagery, you can tap into the subconscious associations readers have with fire, enriching the layers of meaning in your writing.

Fire, an enigmatic force that has fascinated humanity for centuries, possesses a profound symbolism that permeates numerous literary works. Its multifaceted nature has made it an essential element in storytelling, crafting narratives that captivate and resonate with readers. Symbolizing both destruction and rebirth, fire serves as a powerful metaphor, igniting a range of emotions and shedding light on various aspects of the human condition.

1. Fuel for Transformation: Fire’s transformative power lies in its ability to consume and renew. Just like a phoenix rising from the ashes, fire symbolizes growth and change in storytelling. It represents the cyclical nature of life, the destruction of the old to make way for the new. This symbolism can be seen in characters who undergo profound transformations, as they face intense trials and emerge stronger, like a blazing flame unhindered by obstacles.

2. Purity and Cleansing: Fire’s mesmerizing dance often denotes a purifying force, a means to cleanse or purify the world around it. Just as flames consume impurities, fire can serve as a symbolic tool for characters to confront their flaws and redeem themselves. It represents the journey of characters who rise above their past mistakes and find a sense of redemption or closure. In this way, fire’s symbolism reminds us that through struggle and introspection, our characters can find inner peace and achieve personal growth.

Techniques to Bring Fire to Life in Your Writing

Fire has always held a mysterious allure, captivating our senses and igniting our imagination. As writers, embracing the element of fire in our storytelling can add depth, intensity, and a touch of magic to our words. Whether you’re looking to describe a blazing inferno that engulfs a village or a flickering candle that illuminates a dimly lit room, here are some techniques to help bring fire to life in your writing:

• Use vivid imagery: Paint a vivid picture in your reader’s mind by using descriptive words that evoke the sensation of heat, brightness, and movement. Engage all of the senses by describing the crackling sound of the flames, the acrid scent of burning wood, and the scorching touch of fiery heat on the skin.
• Evoke emotion: Fire is an element that often stirs strong emotions in people. Tap into these emotions by exploring the power and symbolism of fire. Highlight how it can bring warmth and comfort, but also destruction and chaos. Use metaphors and analogies to convey the raw intensity and transformative nature of fire.
• Inject tension: Set the stage for your fiery scene by building anticipation and suspense. Describe the mounting pressure, the crackling anticipation, and the gradual intensification of the flames. Use short, punchy sentences and dynamic language to convey the escalating drama and keep your readers on the edge of their seats.
• Utilize fire-related symbolism: Fire is often associated with concepts such as passion, rebirth, destruction, and purification. Incorporate these symbols into your writing to add layers of meaning and depth. Explore the contrasts between the destructive and creative aspects of fire and how it can serve as a catalyst for change or transformation in your characters.

Mastering the art of bringing fire to life in your writing requires practice, attention to detail, and a keen imagination. By employing these techniques, you can captivate your readers and transport them into a world where flames dance and flicker, illuminating the path to unforgettable storytelling.

When it comes to developing compelling characters , writers are constantly seeking new and innovative tools. One often overlooked method is harnessing the power of fire to ignite and shape the essence of a character. Fire has long been a powerful symbol of transformation and rebirth, and when used deliberately, it can drive the evolution of our characters in fascinating ways.

By incorporating fire into the narrative, writers can introduce a multitude of character-building scenarios. Here are a few ways to utilize fire as a catalyst for character development:

• Burning Away the Past: Just as fire purifies and consumes what once was, it can serve as a conduit for a character to let go of their past traumas or mistakes. The act of willingly facing their demons in the flames can allow them to emerge stronger, liberated, and ready to embark on an exciting new path.
• Fanning the Flames of Passion: Fire signifies not only destruction but also passion and desire. By incorporating fire as a catalyst, writers can kindle intense emotions within their characters, pushing them to pursue their dreams with vigor and determination. The blaze of ambition fueled by the undying spirit can serve as a source of inspiration and motivation for our protagonists.
• Forging Resilient Heroes: As fire molds and tempers metal into strong and resilient forms, it can also shape our characters into heroes. Through trials by fire, characters can be tested, pushing them beyond their limits physically, mentally, or emotionally. These transformative experiences force them to confront their fears, hone their strengths, and emerge from the flames as heroes with unwavering resolve.

Embracing the symbolic power of fire within storytelling offers endless possibilities for character development. By infusing your narrative with the transformative nature of fire, you can ignite a journey of growth, self-discovery, and triumph for your characters that will keep readers mesmerized until the final page.

In order to effectively depict fire in writing, it is crucial to use descriptive techniques that create vivid imagery and engage the reader’s senses. By employing these techniques, you can transport your audience to the scorching heat and flickering flames of a fire, making the experience come alive on the page.

Here are some powerful descriptive writing techniques that can help you depict fire effectively:

• Similes and metaphors: Compare the fire to other objects or experiences to highlight its intensity and nature. For example, you could describe the flames as “dancing like wild serpents” or “consuming everything in their path like a ravenous beast.”
• Sensory details: Engage the reader’s senses by incorporating detailed descriptions of sight, sound, smell, touch, and even taste. Describe the flames as “licking the air with vivid hues of orange and red” and the crackling sound they make as “a symphony of snapping twigs and popping embers.”
• Personification: Grant the fire human qualities to create a deeper connection with the reader. The fire could be described as “hungry for destruction” or “dancing in rapturous joy.”
• Emotive language: Use words that evoke strong emotions to intensify the portrayal of fire. Phrases like “roaring inferno,” “devouring heat,” or “scorching fury” can help the reader feel the intensity and power of the flames.

By using these descriptive writing techniques, you can effectively depict fire in your writing, enabling your readers to experience the heat, ferocity, and mesmerizing beauty of a burning flame.

Fire, an element that has captivated humanity since its discovery, holds immense potential as a tool in storytelling. When harnessed correctly, fire can be the catalyst for gripping conflict and suspense, intensifying the emotional rollercoaster for readers and viewers alike. In this post, we will explore various ways to master the art of tension using fire as a powerful narrative device.

1. Symbolism and metaphor: Fire can be more than just a physical entity; it can represent deeper themes and evoke powerful emotions . Utilize fire as a metaphor for destruction, purification, or rebirth, depending on your narrative’s needs. Symbolic imagery of fire engulfing a crucial object or location can create a sense of impending doom, leaving readers on the edge of their seats.

2. Setting the stage: Fire’s natural intensity and ability to spread quickly make it the perfect tool for building suspense. Whether it’s a raging wildfire consuming a forest or a single candle flickering ominously in a dark room, use the environment to heighten tension. Describe the crackling sound, the swirling tendrils of smoke, and the searing heat, immersing your audience in the moment and making them feel the protagonist’s fear and desperation.

Writing is an art form that requires a certain level of passion and creativity to truly captivate an audience. If you find yourself in need of a little spark to reignite your writing prowess, look no further! Here are some exhilarating exercises that will help bring out your inner fire and inspire a renewed sense of passion in your words:

• Unleash your imagination: Take a moment to close your eyes and let your mind wander. Visualize scenes, characters, and emotions that make your heart race. Allow your thoughts to drift and flow without any constraints. Jot down the vivid images that come to mind and use them as fuel to infuse your writing with passion.
• Explore unfamiliar territories: Step out of your comfort zone and dive into unfamiliar genres, subjects, or writing styles. Challenge yourself to write a poem, a short story, or an article on a topic you’ve never considered before. Embrace the unknown and let the excitement of discovering new avenues fuel your writing with an electrifying energy.
• Find inspiration in everyday life: Look around you and absorb the beauty of the world. Pay attention to the intricacies of nature, the emotions of the people you encounter, or the little moments that often go unnoticed. Allow these experiences to seep into your writing, infusing it with a renewed zest for life and a sense of authenticity that resonates with readers.

By engaging in these invigorating exercises, you can rekindle the flame within and unleash your inner fire onto the pages of your writing. Remember, passion is contagious – if you write with fervor and enthusiasm, your readers will undoubtedly feel it, making for an unforgettable reading experience.

In literature, fire has long been a powerful symbol, capable of conveying a wide range of emotions, themes, and ideas. Whether it appears as a destructive force or a source of warmth and illumination, fire serves as a catalyst for change and transformation in storytelling. Through its association with destruction, rebirth, and purification, fire often plays a central role in shaping the resolution of narratives.

One of the primary symbolic functions of fire is its ability to represent destruction and chaos. As flames consume everything in their path, they mirror the conflicts and challenges that characters face. The destructive power of fire can serve as a metaphor for the inevitable destruction of old ways of thinking or outdated institutions, paving the way for new beginnings and fresh perspectives. Moreover, fire’s capacity to reduce objects to ash signifies the eradication of the old and the opportunity for growth and renewal.

• Rebirth: Fire’s ability to destroy not only represents the end of a story but also allows for new beginnings.
• Purification: Fire purges and cleanses, serving as a transformative force for characters and their surroundings.
• Light and Illumination: Fire’s warm glow and flickering flames provide a source of light and enlightenment, guiding characters towards resolution.

As readers, we are captivated by the symbolism of fire and its profound impact on storytelling. By understanding the multifaceted role of fire in literature, we can appreciate the intricate layers and themes that authors strive to convey. So next time you encounter flames dancing across the pages of a book, take a moment to reflect on the power of fire as it shapes the resolution and symbolism of the story.

Q: What is “Igniting Passion: Describing Fire Creative Writing” all about? A: “Igniting Passion: Describing Fire Creative Writing” is an article that delves into the art of describing fire through creative writing. It explores various techniques and tips to bring the essence and intensity of fire to life on paper.

Q: Why is fire such a fascinating topic for creative writing? A: Fire has always held a deep fascination for humans since ancient times. It represents both destruction and creation, power and warmth. As a symbol, fire evokes a wide range of emotions, making it an ideal subject for creative writing.

Q: What are some key elements to consider when describing fire? A: When describing fire, it’s important to tap into the sensory details such as the colors, textures, and sounds associated with fire. Additionally, exploring the feelings and emotions evoked by fire can create a powerful impact on the reader.

Q: How can one effectively convey the visual aspects of fire through writing? A: To effectively convey the visual aspects of fire, writers can use vivid and descriptive language. They can illustrate the flames’ dance, the shimmering glow, and the way fire throws long shadows. Incorporating similes and metaphors can also help readers visualize fire more vividly.

Q: How does sound play a role in describing fire? A: Sound is a crucial element in describing fire. The crackling of flames, the hissing of wood, or the rhythmic popping can create a soundscape that transports the reader into the scene itself. Choosing words that mimic these sounds will help engage the reader’s auditory imagination.

Q: How can writers capture the emotions associated with fire in their descriptions? A: Writers can capture the emotions associated with fire by exploring the varied feelings that fire evokes. It can symbolize warmth, vitality, and passion, or represent danger, destruction, and chaos. Describing the emotions of characters impacted by fire can also immerse the reader in the scene.

Q: What are some writing techniques that can enhance the description of fire? A: Metaphors, personification, and onomatopoeia are a few techniques that can enhance the description of fire. Metaphors compare fire to other elements, making the description more evocative. Personification can give fire a life force, attributing human characteristics, while onomatopoeia can recreate the sounds of fire through words.

Q: Can you provide any writing prompts related to the topic? A: Certainly! Here’s a prompt: “Describe a scene where a bonfire illuminates a group of people. Explore the colors, sounds, and emotions associated with the fire, and its impact on the characters.” Staying true to the theme of fire, this prompt encourages writers to ignite their imagination and experiment with their descriptive skills.

Q: Any final tips for writers looking to master the art of describing fire? A: Practice is key! Writers should take time to observe fire in various settings – from a cozy fireplace to a raging wildfire – and jot down their observations. Additionally, reading written works that beautifully describe fire can be a source of inspiration and guidance. Embrace experimentation and let your creativity fuel your descriptions.

In conclusion, exploring the art of describing fire through creative writing allows us to ignite our own passion for storytelling, drawing readers into a world of warmth, intensity, and wonder.

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How To Describe A Fire In Writing (11 Best Steps You Need To Know)

In the realm of storytelling, the art of description is a potent alchemy, a magical brew that transports readers into the heart of a narrative’s world.

Among the many elements that writers weave into their tapestry of words, fire stands as a captivating and elemental force.

Describing fire in writing isn’t merely an exercise in conveying heat and light; it’s an opportunity to harness the raw power of the senses, to immerse readers in a sensory experience that flickers and crackles in their minds.

It’s a dance with an elemental entity that can symbolize passion, destruction, rebirth, or transformation.

This exploration ventures beyond the physical and delves deep into the emotional and symbolic aspects of fire, revealing how this mesmerizing force can shape characters, environments, and the very essence of storytelling.

Join us on a journey through the flames, as we uncover the secrets of how to vividly and evocatively describe a fire in the written word.

Table of Contents

How To Describe A Fire In Writing

Describing a fire in writing involves creating vivid imagery and conveying the sensory experience to the reader. Here’s a step-by-step process to help you describe a fire effectively:

Set the Scene

Begin by setting the scene. Describe the location where the fire is occurring. Is it in a forest, a building, or a campfire in the backyard? Provide context so the reader can visualize the surroundings.

Choose Your Perspective

Decide on the point of view you want to use. Are you describing the fire as an observer, a participant, or an omniscient narrator? The choice of perspective will impact the language and tone of your description.

Engage the Senses

Use sensory language to convey the experience of the fire. Describe what you see, hear, smell, taste, and feel. For example:

Sight: “The flames danced and flickered, casting an orange glow that painted the night.” Sound: “The crackling of burning wood echoed through the stillness of the forest.” Smell: “The air was filled with the scent of burning pine, a mix of earthy and resinous aromas.” Taste: “The acrid taste of smoke hung in the air, making each breath sharp and bitter.” Touch: “Heat radiated from the fire, warming my skin and making the surrounding area feel alive.” Use Vivid Adjectives and Metaphors: Employ descriptive adjectives to enhance the reader’s understanding of the fire. Metaphors and similes can also be powerful tools. For example:

“The flames roared like an angry dragon.” “Embers floated upward, like glowing fireflies in the night.”

Describe the Movement and Shape

Fire is dynamic. Describe how the flames move and the shapes they create. Mention whether the fire is spreading rapidly or burning steadily. Is it a controlled blaze or a wild inferno?

Convey Emotions and Atmosphere

Consider the emotional impact of the fire on characters or the environment. Does it symbolize destruction, warmth, danger, or hope? Convey the atmosphere and mood.

Include Character Reactions:

If there are characters present, describe their reactions to the fire. Their emotions, actions, and thoughts can add depth to the scene.

Highlight the Consequences

Mention the consequences or aftermath of the fire, depending on the context. Does it leave behind ashes, charred remnants, or a sense of renewal?

Maintain Flow and Balance

Ensure that your description flows smoothly and doesn’t overwhelm the reader with too much detail. Strike a balance between vividness and conciseness.

Edit and Revise

After writing your description , review and revise it for clarity and coherence. Eliminate any redundant or unnecessary details.

Read your description aloud to assess how it sounds. This can help you identify areas where the prose can be improved for better rhythm and readability.

Seek Feedback

If possible, share your description with others and ask for feedback. They can provide valuable insights and suggestions for improvement.

Remember that the effectiveness of your description depends on the context of your writing and your intended audience. Adapt your approach accordingly, whether you’re writing a novel , a news report, or a creative essay.

Understanding the Fire

Understanding the fire is like deciphering the secrets of an ancient language spoken in the tongues of flames. It’s more than just grasping the physics of combustion; it’s about communing with a living entity that dances and roars, painting stories across the canvas of existence.

Fires have personalities, each with their own quirks and moods, from the playful crackles of a campfire to the raging inferno of a wildfire.

To truly understand fire is to recognize its primal allure, its power to both create and destroy, and its ability to kindle the deepest passions within us.

It’s a journey into the heart of an elemental force that has shaped human history and imagination for millennia, and as writers, it’s our ticket to igniting the imaginations of our readers with the fiery tales we tell.

The role of fire in storytelling and symbolism

Fire, an ever-present and versatile element, plays a multifaceted role in storytelling and symbolism. It serves as a potent metaphor for transformation, representing both destruction and renewal.

In tales as ancient as Prometheus stealing fire from the gods to enlighten humanity and as contemporary as Katniss Everdeen’s fiery Mockingjay emblem, fire embodies rebellion and hope.

It illuminates the path of heroes, casting light on their trials and tribulations, while also symbolizing their inner strength and resilience.

Fire’s flickering flames and smoldering embers evoke passions, desires, and inner conflicts within characters, adding depth and complexity to their narratives.

As writers, we harness fire’s symbolic power to ignite emotions and illuminate themes, recognizing it as a timeless storyteller’s tool that sparks the imagination and fuels the essence of human stories.

Preparing to Describe

Preparing to describe is akin to embarking on a thrilling expedition into the wilderness of your imagination, armed with the sharpest senses and a treasure trove of experiences.

It’s about immersing yourself in the world you wish to portray, whether through the pages of books, the crackling warmth of a campfire, or the sizzling sounds of a bustling kitchen.

It’s a journey of research and observation, where you tread the paths of experts and get your hands dirty in the soil of knowledge. Yet, it’s also a journey of safety, ensuring that as you traverse the landscapes of your creativity, you do so with caution, like a cautious alchemist mixing volatile ingredients to create the perfect potion.

As a writer, preparing to describe is the art of cultivating curiosity, sharpening your senses, and taming your wanderlust, all in pursuit of crafting worlds so vivid and immersive that your readers will swear they can feel the earth beneath their feet and taste the adventure in every word.

Immersion and observation

Immersion and observation are the twin pillars upon which the edifice of compelling writing is built. To immerse oneself in a subject is to plunge headfirst into its depths, to become a temporary inhabitant of its world, and to breathe its essence.

It’s the quiet act of listening to the secrets whispered by the wind through ancient trees or feeling the rhythm of a bustling city’s heartbeat. Observing, on the other hand, is the art of keenly witnessing the nuances and details, like a detective unraveling a mystery.

It’s about noticing the way a leaf quivers in the breeze or how a smile forms at the corner of someone’s lips. Immersion and observation, when married in the writer’s mind, create a potent alchemy that transforms mere words into living, breathing entities capable of transporting readers to realms they’ve never known.

They are the foundations upon which stories come alive, and it is through these practices that writers conjure entire worlds from the alchemical cauldron of their imaginations.

Identifying the purpose of the fire description

Identifying the purpose of the fire description is akin to selecting the perfect brushstroke to paint a masterpiece; it’s a decision that shapes the entire narrative.

Fires in literature are not mere flames; they are conduits of symbolism, emotion, and atmosphere. Understanding why you’re describing the fire is like deciphering the hidden language of storytelling.

Is it to set a mood, casting a warm, inviting glow over a romantic scene? Or is it to evoke fear and chaos as flames devour a building, driving your characters to the brink? Perhaps the fire is a character in its own right, mirroring the inner turmoil of your protagonist.

By pinpointing the purpose, you breathe life into the blaze, making it more than just a backdrop; it becomes a dynamic force propelling your story forward, evoking emotions, and etching unforgettable images in your readers’ minds.

The Senses in Fire Description

In the realm of fire description, the senses become our storytellers, guiding us through a symphony of sensations that dance and flicker in the reader’s mind.

We don’t just see the flames; we witness their mesmerizing dance, a hypnotic ballet of light and shadow. We don’t just hear crackling; we listen to the fiery chorus, a cacophony of whispers and roars that compose a fiery sonata. We don’t just feel the heat; we embrace its embrace, the primal warmth that sparks life and passion.

We don’t just smell the smoke; we inhale its ancient tales, stories of wood and earth transformed by fire’s touch.

And we don’t just taste the fire; we savor the essence of creation and destruction, a bittersweet reminder of nature’s raw power.

In the realm of fire description, we become alchemists, weaving together these senses to conjure a vivid tapestry of emotions and experiences that linger long after the final word is read.

Figurative Language and Metaphors

Figurative language and metaphors in writing are the hidden gems that turn mere words into treasures of imagination. They’re the brushstrokes of creativity that paint the canvas of the mind with colors unseen and emotions unfelt.

Like a skilled magician, writers use metaphors to conjure connections between the familiar and the unknown, unlocking doors to uncharted realms of understanding.

Fire, for instance, can be the phoenix of transformation, rising from the ashes as a symbol of rebirth. It can be the blazing sword of determination, forging paths through adversity. Metaphors breathe life into the mundane, inviting readers to experience the extraordinary.

They are the keys that unlock the doors of perception, and in the hands of a skilled wordsmith, they illuminate the darkest corners of storytelling with dazzling, metaphorical fireworks.

The fire as a character

The fire, when personified as a character in literature, becomes an entity that breathes with a life force uniquely its own.

It possesses its temperament, sometimes playful and dancing like a mischievous sprite, other times raging with the ferocity of a formidable adversary.

As a character, fire has motives, desires, and moods that reflect the story’s emotional landscape. It can be a loyal ally, providing warmth and comfort to a weary traveler, or a malevolent foe, consuming everything in its path with insatiable hunger.

Its flickering flames can mimic the flickers of curiosity in a character’s eyes, or its roaring inferno can mirror the tempestuous passions of the human soul.

In the hands of a skilled writer, fire as a character is a dynamic force that adds depth and complexity to the narrative, igniting the reader’s imagination and forging a bond that transcends the pages of the story.

Symbolism and metaphors

Symbolism and metaphors are the secret codes of literature, the keys that unlock hidden meanings and add layers of depth to storytelling.

They are the literary alchemy that turns ordinary words into vessels of profound insight and emotion. Through symbolism, writers imbue everyday objects, actions, or elements with deeper significance, allowing readers to explore themes and concepts beyond the surface narrative.

Metaphors, on the other hand, are the bridges between the tangible and the abstract, crafting connections that resonate on an emotional level.

They transform the mundane into the extraordinary, enabling writers to paint vivid pictures with words and elicit visceral reactions from their readers.

Whether it’s a rose symbolizing love, a storm representing turmoil, or a journey as a metaphor for life, symbolism and metaphors are the tools that breathe life into literature, inviting readers to journey through the landscapes of the human experience.

Using similes to enhance descriptions

Using similes to enhance descriptions is like adding a sprinkle of stardust to the canvas of language. Similes serve as luminous signposts in the reader’s mind, illuminating the unfamiliar with the familiar.

They invite readers to see, feel, and understand through relatable comparisons, offering clarity and depth to the narrative. A well-crafted simile is a magician’s flourish, transforming a simple phrase into a sensory experience.

Like “whispers as soft as a summer breeze” or “eyes that gleamed like polished sapphires,” these linguistic gems transport readers into the heart of the story , engaging their senses and emotions, and allowing them to taste the world with a writer’s palette of creativity.

Similes are the bridge between the known and the unknown, infusing writing with a touch of magic that lingers in the imagination long after the words have been read.

Describing the Surroundings

Describing the surroundings in writing is akin to being an artist with a boundless palette, ready to paint the world as seen through the mind’s eye.

It’s a symphony of details and emotions, where the landscape becomes a character in its own right, shaping the narrative’s heartbeat.

Whether it’s the lush, emerald-hued forests that whisper secrets to the wind, or the urban jungles pulsating with neon veins of life, the surroundings are the silent witnesses, the stage upon which the drama unfolds.

It’s the art of capturing the essence of a place, not merely through physical attributes, but through the emotions it evokes, the memories it stirs, and the stories it conceals in its nooks and crannies.

Describing the surroundings is the writer’s invitation to the reader, beckoning them to step into a vivid, living world where every word is a brushstroke and every sentence a vivid tableau, waiting to be explored with wide-eyed wonder.

Impact on the environment

The impact of human activities on the environment is a sobering and urgent concern in today’s world. With the rapid expansion of industrialization, urbanization, and resource consumption, we have left an indelible mark on the planet.

From deforestation to pollution, overfishing to climate change, our actions have disrupted ecosystems, diminished biodiversity, and altered the very balance of nature.

The consequences are far-reaching, affecting not only the flora and fauna that share our planet but also posing significant threats to our own well-being.

Recognizing this impact on the environment is a call to action, a reminder that we are stewards of this fragile Earth, tasked with the responsibility of preserving it for future generations.

It is a reminder that the choices we make today will shape the world we leave behind, and that there is an urgent need for sustainable practices and a renewed commitment to the protection and restoration of our natural world.

How fire affects the atmosphere

Fire has a profound and immediate effect on the atmosphere, transforming it in both subtle and dramatic ways. As flames consume organic matter, they release a cocktail of gases and particles into the air, including carbon dioxide, carbon monoxide, and volatile organic compounds.

These emissions can contribute to air pollution and exacerbate climate change by adding greenhouse gases to the atmosphere. The intense heat generated by fires can also create localized weather patterns, generating strong updrafts and potentially even tornado-like fire whirls.

Smoke plumes can rise high into the sky, carrying particulate matter and chemicals that can affect air quality and visibility over vast distances.

Additionally, fires can alter atmospheric conditions, including temperature and humidity, which can have cascading effects on weather patterns and regional climates.

Understanding how fires affect the atmosphere is critical not only for ecological and climate research but also for mitigating the health and environmental impacts of wildfires.

Character Reactions and Emotions

Character reactions and emotions are the soulful melodies in the symphony of storytelling, the moments when the ink on the page transforms into beating hearts and racing pulses.

It’s in the quiver of an eyebrow, the catch of a breath, or the fiery blaze in their eyes that readers connect with characters on a visceral level. These reactions are the barometers of the human experience, reflecting the full spectrum of feelings from unbridled joy to the depths of despair.

In the dance of character emotions, writers weave the threads of empathy, making readers not just witnesses but active participants in the narrative.

It’s a dance that can elicit tears, laughter, or that irresistible urge to flip the page to see what happens next. Character reactions and emotions are the heartbeat of storytelling, pumping life into words, and rendering the line between fiction and reality beautifully blurred.

Fear and awe

Fear and awe, two potent emotions that exist on opposite ends of the emotional spectrum, often walk hand in hand through the corridors of human experience. They are the twin sentinels guarding the gates of our deepest vulnerabilities.

Fear, with its icy fingers, can paralyze and consume, while awe, like a radiant light, can uplift and humble. It’s in the heart-pounding terror of standing on the precipice of the unknown and the breathless wonder of gazing upon the sublime that we glimpse the vast range of human emotions.

In literature, they are the tools that writers wield to immerse readers in the worlds they create, whether it’s the fear that tightens the chest as a character faces a formidable foe or the awe that swells in the soul when witnessing a breathtaking natural wonder.

Fear and awe are the emotional architects of unforgettable narratives, sculpting the contours of characters’ journeys and forging connections between readers and the stories they cherish.

Personal connections and memories

Personal connections and memories are the iridescent threads that weave the tapestry of our lives, creating a mosaic of who we are and where we’ve been.

They are the portals to our past, the mirrors reflecting our joys and sorrows, the songs that echo in the chambers of our hearts. In literature, characters’ personal connections and memories are the keys to unlocking the door to their inner worlds, making them relatable and deeply human.

Whether it’s a cherished childhood memory that shapes a character’s worldview or a profound connection with another character that fuels their journey, these emotional touchpoints are the essence of storytelling.

They remind us that, beneath the fantastical settings and grand adventures, it’s the universal experiences of love, loss, friendship, and growth that resonate most profoundly with readers, for they mirror the stories written in the pages of our own lives.

Narrative Techniques

Narrative techniques are the magician’s secrets, the artful sleights of hand that transform a simple tale into an enchanting spectacle. They are the brushstrokes on the canvas of imagination, the architectural blueprints of a literary world waiting to be built.

From the seductive allure of a unreliable narrator to the rhythmic dance of parallel plotlines, narrative techniques shape the very essence of storytelling.

The clever use of foreshadowing is a sly wink to the future, while nonlinear timelines can be a kaleidoscope through which readers view a story’s myriad facets.

Each technique is a tool that allows writers to sculpt emotions, guide perceptions, and orchestrate suspense with the precision of a conductor leading a symphony.

Narrative techniques are the alchemical ingredients that, when blended masterfully, create a literary potion, one that captivates, challenges, and forever lingers in the reader’s soul.

Point of view and voice

Point of view and voice are the twin architects of a story’s soul, determining not only who tells the tale but also how it is told.

Point of view is the lens through which readers perceive the narrative world, whether it’s the intimate first-person perspective, the all-knowing third-person omniscient, or the limited third-person that allows glimpses into select characters’ minds.

Voice, on the other hand, is the unique fingerprint of the storyteller, their tone, style, and narrative personality that breathes life into the prose.

Together, they create the narrative’s heartbeat, shaping character depth, reader engagement, and the overall atmosphere.

Point of view and voice are the storyteller’s signature, the keys that unlock the door to the reader’s imagination, inviting them to step into the world of the narrative and embark on a journey through the minds and hearts of characters, all guided by the lyrical cadence of the storyteller’s voice.

Foreshadowing and symbolism

Foreshadowing and symbolism are the enigmatic whispers that writers infuse into their narratives, like breadcrumbs leading readers down a mysterious and captivating path.

Foreshadowing is the tantalizing glimpse of what lies ahead, a promise of narrative revelations that stir curiosity and anticipation. It’s the subtle tremor that precedes the earthquake, or the cryptic clue that foreshadows an unforeseen twist.

Symbolism, on the other hand, is the intricate tapestry of hidden meanings, where ordinary objects or occurrences take on profound significance.

A red rose may signify love, but in the hands of a skilled writer, it can also represent sacrifice or passion.

Together, foreshadowing and symbolism are the storyteller’s tools for orchestrating a symphony of meaning, inviting readers to decode, interpret, and immerse themselves in a narrative that goes beyond the surface, enriching the reading experience and leaving an indelible mark on their hearts and minds.

Frequently asked questions (FAQ) about describing a fire in writing:

Can i use metaphors and symbolism when describing a fire in my writing.

Absolutely! Metaphors and symbolism can add depth and layers of meaning to your description. For instance, you can compare a fire to a phoenix rising from the ashes to symbolize rebirth or renewal.

How do I describe the sound of a fire without using the word “crackling”?

You can use onomatopoeic words like “sizzling,” “snapping,” or “popping” to describe the sound of a fire. Each word can evoke a different auditory experience.

What’s the difference between describing a controlled campfire and a raging wildfire?

When describing a controlled campfire, you can emphasize the warmth, coziness, and safety it provides. In contrast, when describing a raging wildfire, focus on the uncontrollable, destructive nature, and the terror it can instill.

How can I make my fire description stand out from others in terms of language and style?

Try experimenting with unconventional language and stylistic choices. Use unexpected adjectives, employ alliteration or assonance, or create a unique narrative perspective, such as describing the fire from the perspective of an ancient tree witnessing it.

Is it important to convey the emotional impact of the fire in my description?

Yes, conveying emotions is crucial. Describe how the fire makes characters or the environment feel. Whether it’s fear, awe, comfort, or despair, emotions can engage the reader on a deeper level.

Can I use historical or cultural references when describing a fire scene in a specific setting or time period?

Absolutely! Historical or cultural references can enrich your description. For instance, you might reference ancient rituals involving fire or famous historical fires that occurred in the region you’re describing.

How do I balance the sensory details when describing a fire without overwhelming the reader?

Focus on the most relevant and impactful sensory details for your scene. Choose the senses that will create the strongest impression and enhance the atmosphere you want to convey.

Are there any unique challenges in describing a fire in a science fiction or fantasy setting?

Yes, in speculative genres, you have creative freedom to invent entirely new fire phenomena. You can describe fantastical fires that defy the laws of physics or create unique magical properties.

Can I use the fire as a character or a symbol in my story?

Absolutely! Fire can be a dynamic character or a powerful symbol representing various themes like transformation, destruction, or passion. Just ensure it serves a purpose in your narrative.

Are there any unconventional formats or structures I can use to describe a fire, aside from traditional prose?

Consider experimenting with alternative formats like a poem, a letter, or a diary entry to describe a fire scene . These formats can provide a fresh and unique perspective on the event.

Remember that describing a fire in writing offers endless creative possibilities. Don’t be afraid to push the boundaries and think outside the box to create a memorable and captivating portrayal of fire in your work.

In the realm of creative writing , mastering the art of describing a fire is akin to wielding a potent and evocative tool.

It’s about more than just capturing the visual spectacle of flames; it’s a gateway to the senses, emotions, and symbolism that fire embodies.

A well-crafted fire description can breathe life into a narrative, igniting the reader’s imagination and forging a visceral connection with the story’s world.

As writers, we are not merely chroniclers of events; we are alchemists, conjuring fiery tales that burn in the hearts and minds of our audience.

So, whether it’s the comforting glow of a hearth, the ominous fury of a wildfire, or the metaphorical flames of passion, the ability to describe fire in writing is an art worth honing—a gift that keeps the literary world ablaze with wonder and intrigue.

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25 of the Best Words for Writers to Describe Fire

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Vocabulary Boosters

The perfect description of an incident with fire will make your readers feel more engaged and appreciative of your writing. However, finding the best words to describe fire more pleasantly and vividly can be a tough process.

Here are some examples of words to describe fire that will help you make the best out of your descriptions of fire.

Words to describe flames

  You will want your readers to create an image in their minds when it comes to how the flame looked. You can consider using any of these words to describe fire.  

Words to describe blazes

  You can let your readers have an experience of how fire can blaze with a lot of heat using these following words to describe fire.  

Words for wildfire/brushfire

  You can plot a scene using the following words to describe a fire; you can use these words to describe a fire that spreads over natural vegetation in a wild way.  

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Words for smoke (caused by fire)

  Smoke comes in different forms and smells; you can describe this to your readers using the following words to describe fire.  

Words to describe sounds of fire

  You can try bringing out some sound effects of fire using the following creative words to describe fire in your writing.  

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Words to describe the smell of fire

  Here are some words that you can use to describe the different smells that are produced from fire’s smoke.  

  Words that describe fire make it easier for you to explain to your readers how intense and dense the fire was.   You also let them picture how it looked, smelled, or sounded. You can use the words to describe fire above in your next novel, article, or blog about an incident with fire.  

DraftSparks ✨

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Use the elements of a fireplace as metaphors to describe a personal journey..

The flames could represent passion, the varying intensities could stand for highs and lows; ashes could symbolize the remnants of past experiences – come up with unique metaphors using the elements of a fireplace that best describe personal transformations or journeys. This prompt helps reflect on significant stages of life and personal growth through creative metaphorical representation.

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15 Popular Fire Metaphors for Writers

Table of Contents

Fire metaphors come in two guises. The first are metaphors that explain the behaviors of fires , such as “it conquered,” “it retreated,” or “it tickled.” These fire metaphors usually employ personification to create a vivid image in the mind. The second utilizes the traits of fires to explain unrelated things , like “a burning rash” or love being “an eternal flame.”

Both types of metaphors help create vivid images in a person’s mind. As a result, writers can use them to explain the behavior of a conflagration in their storyline. In addition, public health experts, doctors, and teachers use them to describe everyday things by analogizing them to fires.

Below are 17 great fire metaphors you can use today.

Fire Metaphors

1. fire is life.

This fire metaphor explains that people cannot live (or have a much-altered life!). For example, you might hear this metaphor in an episode of Survivor. It describes the first few days of the game when the characters don’t yet have flint. The players are cold, cannot cook rice, and usually feel deflated.

When they get flint, they can have cookouts, dry their clothes, and feel they have a new life in the game.

Here, the metaphor doesn’t say that fire and life are similar. Instead, it’s to say that it is so vital that it is analogous to life.

2. The Fire Conquered or ‘Decimated.’

A wildfire burning across an entire landscape personifies a warrior that won a war or battle against the landscape. While ‘decimation’ or ‘devastation’ might not be metaphorical, saying that it ‘decimated’ or ‘conquered’ gives human traits to a non-sentient phenomenon.

3. There is a Fire in my belly

A motivated and determined person is said to have fire in their belly (or stomach). It implies something within us that is ‘raging’ and motivates us to keep going when times are tough.

For example, we might use this metaphor when talking about a fierce competitor in a competition. Another example is a determined scientist who is relentless in their efforts to achieve a scientific breakthrough.

You could use this fire metaphor to describe the protagonist in your story. For example, he might be out to get revenge or be strongly motivated by their convictions.

4. My Love is an Eternal Flame

To say that love is an ‘eternal flame’ is to say that it will never end. You can imagine a flame that cannot go out no matter what.

We consider it a metaphor because there isn’t a real flame flickering away in your heart. We’re using an analogy here because of a similarity: fire is red and feels like a visual representation of passion!

This fire metaphor is very similar to the one above. Both imply that something inside us is acting like a flame (but we say it is to strengthen the analogy rhetorically).

5. Fire is my friend

Humans have a love-hate relationship with fire. It gives us heat, warmth, and light. But it can also destroy our homes if we don’t control it. So to consider fire your friend is to talk about its positive aspects. You might call it your friend if you’re starved of it and in need of its warmth at night.

Of course, it can’t be your friend – it’s not a conscious thing! But because of the comfort it provides, it feels like your friend. Although, if you were to say ‘feels like, you’d be in the territory of simile, it wouldn’t be as rhetorically satisfying.

6. The Wildfire Races up the Hill

Here’s another example of personification we often use when wildfires approach a house. Wildfires, of course, don’t have legs, so they don’t ‘run,’ and they’re not in a race against anything! However, wildfires tend to move uphill incredibly fast, mainly when fueled by dead grass, a warm day, and strong wind. When that happens, it feels like it’s in a rush. So we might say it runs, races, or even chases as it moves at such speed.

7. Run into the blaze

We often say that firefighters run into flames . Of course, they’re not running into them. But they are running toward them to prevent them from spreading. It’s a heroic action that we all respect and admire because they’re putting their lives on the line to protect us.

But this metaphor has become idiomatic and used out of context. For example, healthcare workers might “run into the blaze” when they work to prevent the spread of a pandemic. Police officers might run into the blaze when they intervene in dangerous situations. Finally, soldiers might stand up to the fire when they go off to war.

8. The Raging Inferno

We use the adjective ‘raging’ often when we talk about flames that we might not even realize using a fire metaphor here. But rage is something usually associated with human anger. So when we talk about raging flames, we assign them a human trait: anger! They burn so fiercely that they remind us of a person being in a fit of uncontrollable rage. So, people use the term ‘inferno’ for this metaphor because they are the type of intense, uncontrollable fire analogous to rage.

9. The Flames Licked and Tickled

In contrast to a raging inferno, tickling flames are much tamer. They might lick or tickle because they occasionally appear to leap up a few inches. Still, they are generally low, flickering controlled flames. We’ll commonly associate it with an indoor fireplace burning slowly, comfortably. This licking and tickling effect can be pleasant and is the fire effect we might enjoy looking at for hours on end.

10. The Rash Flared Up

A rash that flares up has gotten very red and potentially even spread. People with hives will be familiar with this. Suddenly, they have an itchy red rash and feel hot after exposure to an allergen.

Generally speaking, only a fire can ‘flare’ (which we might define as a bright flash of flame and light). However, we can imagine a rash imitating a fire’s flaring behavior when it spreads rapidly on the skin and feels hot.

11. Feeling Burnt Out

This phrase refers to being exhausted to the point that you can’t continue to do something. Burnout is a common phenomenon among people who do something tirelessly for an extended period.

For example, school students studying for their final exams might feel burnt out. Another example might be athletes who train relentlessly for a long time.

This metaphor comes from the idea that it goes out when there’s no more fuel for a fire. Idiomatically, we use the term regularly to the notion that there’s no fuel left in our bodies to continue to do something. In that scenario, we are at a point of mental or physical exhaustion.

12. Light a Fire Under Someone

The saying “to light a fire under someone” refers to circumstances where one person does something to cause another person to get active.

For example, a parent might pull the sheets off a teenager who sleeps in too late to force them to leap out of bed. Similarly,  a teacher might tell students you will kick them out of class if they don’t get a B on an exam. These actions cause someone else to get active right away.

This fire metaphor is a form of extrinsic motivation (someone else forces you to take action). It’s not an internal flame, which we consider intrinsic motivation (you taking action out of personal desire).

13. Fire has a Mind of its Own

Yet another example of personification. Of course, flames don’t have a mind, but we say they do to convey that sense that they do whatever they feel like doing. They can’t be controlled and will move wherever they want.

14. Wall of Flames

This metaphor is widespread when describing the front line of a wildfire or a structural inferno. Firefighters sometimes have to run through tall blazing flames, for example, to get out of a building. There is a wall of fire in front of you in these instances. But, of course, there isn’t a wall there.

It feels like a solid, impenetrable wall because that seems impossible to run through. Furthermore, there doesn’t seem to be a hole or break in that “wall” to escape.

15. Trail Blazers

A trailblazer is someone who is the first to do something. For example (and we’re getting a little more literal here), you might be the first person to mark out a new hiking trail. You’ve now set the path for others to follow in your place. The ‘blazing’ aspect is where the fire metaphor comes in. Nothing, of course, was ‘blazed’ per see.

Fire is the first thing to move through a forest (and burn it out, so others can come behind and easily pass through). In the same idea, the trailblazer is the first person to move down a trail.

The incredible importance of fire to our lives and human history can account for many fire metaphors. And I’m sure I’ve missed many (can you think of some others?) Yet, they have swept their way into our language to help us explain everything from rashes to love, anger and passion. For more on how fire is part of our lives and language, read up on the symbolism of fire .

Related Articles

Describing Words

This tool helps you find adjectives for things that you're trying to describe. Also check out ReverseDictionary.org and RelatedWords.org . Here are some adjectives for fireplace : . You can get the definitions of these fireplace adjectives by clicking on them. You might also like some words related to fireplace (and find more here ).

Sort By Usage Frequency

Click words for definitions.

Loading you some adjectives... Won't be much longer! :)

Words to Describe fireplace

Below is a list of describing words for fireplace . You can sort the descriptive words by uniqueness or commonness using the button above. Sorry if there's a few unusual suggestions! The algorithm isn't perfect, but it does a pretty good job for most common nouns. Here's the list of words that can be used to describe fireplace :

• homey old-fashioned
• real, wood-burning
• wide overwhelming
• shockingly huge
• quaint, wood-burning
• massive rickety
• conical false
• impromptu outdoor
• large, conventional
• rustic, convivial
• archaic wood-burning
• open norwegian
• enormous dutch
• beautiful, eighteenth-century
• presumably false
• large but inefficient
• domed wood-burning
• truly ample
• large fifteenth-century
• huge middle-age
• old-fashioned, empty
• cozy, tiled
• liberal open
• time-honored open
• ample, open
• lofty and vast
• natural tiny
• illogical, open
• view--perfectly useless
• tiled and brass-bound
• low and cosy
• effective and thoroughly practical
• floor-to-ceiling, wall-to-wall
• now black and empty
• old wide-open
• customary back-to-back
• flaming open
• cunning miniature
• big baronial
• wide, quaint
• altogether enormous
• great, venerable
• low, cheery
• fake plug-in
• small, charcoal
• empty, rusty
• ornate, decorative
• free-standing swedish
• immense medieval
• evidently useable
• stupid smoky
• crazy artificial
• nice wood-burning
• long and totally chic
• totally chic
• attractively tiled
• rusty and empty
• vacant open
• huge, red-brick
• narrow mexican
• permanent and limited
• draughty, cold
• generous, wide
• rude but spacious
• neat and satisfactory
• quaint, large
• old voracious
• wonderful ornamental
• wide medi�val
• exquisitely tiled
• great, cavernous
• wide, ample
• old-fashioned hospitable
• delightful open
• rude outdoor
• expansive open
• wood-burning
• great old-fashioned
• central and largest
• huge ornate
• gloomy, shadowy
• central wrought-iron
• huge rustic
• distant red-brick
• modestly spectacular
• massive rugged
• extra broad
• ancient open-air
• wide mediaeval
• small and smoky
• deep old-fashioned
• vast walk-in
• ancient tiled

Popular Searches

As you've probably noticed, adjectives for " fireplace " are listed above. Hopefully the above generated list of words to describe fireplace suits your needs.

If you're getting strange results, it may be that your query isn't quite in the right format. The search box should be a simple word or phrase, like "tiger" or "blue eyes". A search for words to describe "people who have blue eyes" will likely return zero results. So if you're not getting ideal results, check that your search term, " fireplace " isn't confusing the engine in this manner.

Note also that if there aren't many fireplace adjectives, or if there are none at all, it could be that your search term has an abiguous part-of-speech. For example, the word "blue" can be an noun and an adjective. This confuses the engine and so you might not get many adjectives describing it. I may look into fixing this in the future. You might also be wondering: What type of word is fireplace ?

The idea for the Describing Words engine came when I was building the engine for Related Words (it's like a thesaurus, but gives you a much broader set of related words, rather than just synonyms). While playing around with word vectors and the " HasProperty " API of conceptnet, I had a bit of fun trying to get the adjectives which commonly describe a word. Eventually I realised that there's a much better way of doing this: parse books!

Project Gutenberg was the initial corpus, but the parser got greedier and greedier and I ended up feeding it somewhere around 100 gigabytes of text files - mostly fiction, including many contemporary works. The parser simply looks through each book and pulls out the various descriptions of nouns.

Hopefully it's more than just a novelty and some people will actually find it useful for their writing and brainstorming, but one neat little thing to try is to compare two nouns which are similar, but different in some significant way - for example, gender is interesting: " woman " versus " man " and " boy " versus " girl ". On an inital quick analysis it seems that authors of fiction are at least 4x more likely to describe women (as opposed to men) with beauty-related terms (regarding their weight, features and general attractiveness). In fact, "beautiful" is possibly the most widely used adjective for women in all of the world's literature, which is quite in line with the general unidimensional representation of women in many other media forms . If anyone wants to do further research into this, let me know and I can give you a lot more data (for example, there are about 25000 different entries for "woman" - too many to show here).

The blueness of the results represents their relative frequency. You can hover over an item for a second and the frequency score should pop up. The "uniqueness" sorting is default, and thanks to my Complicated Algorithm™, it orders them by the adjectives' uniqueness to that particular noun relative to other nouns (it's actually pretty simple). As you'd expect, you can click the "Sort By Usage Frequency" button to adjectives by their usage frequency for that noun.

Special thanks to the contributors of the open-source mongodb which was used in this project.

Please note that Describing Words uses third party scripts (such as Google Analytics and advertisements) which use cookies. To learn more, see the privacy policy .

Recent Queries

Inviting, warm, cosy…….the Fireplace

Those three words describe how I feel when I see flames dancing in a fireplace. The smell of wood and the crackle sound as it burns…..Ahhhhh! What’s not to love? A fireplace invites you to curl up on the couch with a book, cuddly blanket, and a hot drink (or maybe a glass of wine 🙂 ). The warm th it gives off as it lulls you into a cosy mood and maybe a little snooze. That to me is a moment of bliss…..

I’m not the only one that loves to cosy up to the fire

A fireplace serves a purpose, but if there’s one thing that can make a room with it’s presence and the ambience given off when lit….it’s definitely a fireplace. I think after having a look at these lovelies you’ll agree 🙂

Source: standout-cabin-designs.com via ♥ Luvs 2 Travel on Pinterest

Source: nicespace.me via ♥ Luvs 2 Travel on Pinterest

Source: thebottomoftheironingbasket.blogspot.com via ♥ Luvs 2 Travel on Pinterest

Source: vintagehome.tumblr.com via ♥ Luvs 2 Travel on Pinterest

Source: all-things-bright-and-beyootiful.tumblr.com via ♥ Luvs 2 Travel on Pinterest

Source: loftylovin.tumblr.com via ♥ Luvs 2 Travel on Pinterest

Source: skeppsholmen.se via ♥ Luvs 2 Travel on Pinterest

Source: bostad.lansfast.se via ♥ Luvs 2 Travel on Pinterest

Source: thewhitecompany.com via Emma on Pinterest

This one looks soooo inviting!

I’d love to have a fireplace in the kitchen….I mean really….WHO has a fireplace in the kitchen?! Back in the “old days” it used to be standard, but now it would be a luxury.

Source: pinterest.com via Anouk on Pinterest

Source: whattopin.com via Rachel on Pinterest

Source: modenus.com via Terri on Pinterest

Oh, to have a bubble bath in front of this…

Source: Uploaded by user via Katie on Pinterest

Source: homedesigninspiration.com via Malu on Pinterest

Source: voiceofnature.tumblr.com via Lindsay on Pinterest

Hmmmmm…..I think it’s time for me to go cosy up in front of the fire….I’ve just been handed a cup of tea and my favourite spot is waiting 😉

Source: favim.com via ♥ Luvs 2 Travel on Pinterest

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• Descriptive Writing

27 Ways to Describe a Forest Fire: Words and Tips

Last Updated: September 19, 2023 Fact Checked

This article was co-authored by Lydia Stevens and by wikiHow staff writer, Luke Smith, MFA . Lydia Stevens is the author of the Hellfire Series and the Ginger Davenport Escapades. She is a Developmental Editor and Writing Coach through her company "Creative Content Critiquing and Consulting." She also co-hosts a writing podcast on the craft of writing called "The REDink Writers." With over ten years of experience, she specializes in writing fantasy fiction, paranormal fiction, memoirs, and inspirational novels. Lydia holds a BA and MA in Creative Writing and English from Southern New Hampshire University. There are 19 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 24,324 times.

Forest fires are among nature’s greatest spectacles, which means that describing them can pose some challenges. How do you capture their color, heat, and intensity on the page? What words should you use? We’ll give you 27 strong words and synonyms to use when describing a blaze, as well as tips and samples to help you tame that fire and put it into writing.

Things You Should Know

• Use strong adjectives to convey the scene, like "blazing" or “scorching.”
• Including descriptions of the fire based on the 5 senses can help ground a reader. Describe how the fire and the area around it looks, smells, feels, sounds, and tastes.
• Study how other writers write about forest fires to inform your own writing and give you inspiration.

Words to Describe a Forest Fire

• You can also compare the forest fire to a place like Hades, a mythical setting that really establishes a vibe for a reader.

• Other good words are “conflagration” and “combustion.”

• “Searing” is a similar word that conveys the heat and damage a forest fire can do.

• Other effective figurative phrases like “ocean of fire” or “wall of flame.”

• Try something like “The forest fire devoured everything in its path” brings it to life and makes it more animated, like it has a mind of its own.
• Also try describing the fire as “hungry” or “greedy,” to give it a sense of personification and action.

• A similar term is “apocalyptic,” which is a strong adjective that offers a sense of doom.

• Words like “renewing” or “natural” help to convey a forest fire’s beneficial aspects.

• Another idea is to describe the trees or embers as “exploding,” to lend a more violent tone to the scene.

• Forest fires also “gleam” or are “blinding.”

• For example: “The forest fire’s smoke emitted a smoggy haze over the city that sat downwind of the blaze.”

• “The smoke from the fire stifled the fleeing animals and caused them to choke.”

• You might also say a fire “glowed” or “churned.”

Tips to Describe Fire in Your Writing

• Make a list of adjectives for each of the senses and try to incorporate some of these into your writing to really bring the scene to life.
• A fire might look bright or intense.
• A forest fire might smell like charred wood, or even just like a campfire.
• The area around a forest fire can taste like ash or smoke.
• Forest fires roar and crackle, which are great words to describe the sound.
• Finally, a forest fire is hot, of course–so hot it can scorch or sear whatever it touches.

• If you want the fire to come across as scary, try using words like “devouring” or “apocalyptic.”
• If you’re trying for a lighter or more optimistic mood, try words like “cleansing” or “renewing.”

• Readers make the best writers, because you're learning vocabulary that you may not have known before.

Example Descriptions of Fire

Expert Q&A

• ↑ https://www.dictionary.com/browse/inferno
• ↑ https://www.dictionary.com/browse/blaze
• ↑ https://www.dictionary.com/browse/scorching
• ↑ https://www.thesaurus.com/browse/sea%20of%20flames
• ↑ https://www.dictionary.com/browse/cataclysm
• ↑ https://education.nationalgeographic.org/resource/ecological-benefits-fire
• ↑ https://www.dictionary.com/browse/burst
• ↑ https://www.dictionary.com/browse/glare
• ↑ https://www.mcgill.ca/newsroom/channels/news/experts-forest-fires-and-smog-332148
• ↑ https://www.dictionary.com/browse/smolder
• ↑ https://cpb-us-w2.wpmucdn.com/portfolio.newschool.edu/dist/2/14941/files/2017/06/WRITTING_5enses-209gmgv.pdf
• ↑ https://www.litcharts.com/literary-devices-and-terms/mood
• ↑ https://selfpublishing.com/setting-of-a-story/
• ↑ https://reporter.rit.edu/views/does-reading-really-improve-your-writing
• ↑ https://www.google.com/books/edition/Shardik/exKEDwAAQBAJ?hl=en&gbpv=1&printsec=frontcover
• ↑ https://www.technologyreview.com/2020/08/20/1007478/california-wildfires-climate-change-heatwaves/
• ↑ https://www.gutenberg.org/files/178/178-h/178-h.htm
• ↑ https://freakonomics.com/podcast/how-to-be-better-at-death-ep-450/
• ↑ https://files.gabbart.com/200/little_house_on_the_prairie__pdfdrivecom_.pdf

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Thesaurus Entry: House Fire

April 24, 2010 by ANGELA ACKERMAN

Smoke (light & white, drifting at the ceiling level in a haze to start, then billowing plumes darkening to sooty black as plastics, oils, chemicals, varnish and paint etc are consumed), flame, coals, flames licking the walls and sweeping across the ceiling, fire ropes chewing…

The crackle of flame, the woof sound as something catches fire quickly, plastics melting and dripping into hissing puddles, the creak and groan of timbers contracting, cries for help, glass breaking, roof caving in, floor groaning, someone banging on a door, shouting…

Smoke will pick up the smells of what’s burning and at what stage. Walls, wooden furniture, etc will have a smokey campfire-ish smell at first, plastics a sharp, acrid smell that will burn the nose and throat, but as the fire progresses the smoke will grow…

Gummy, acrid ash coating the tongue, phlegm, the occasional gulp of fresher air if leaning out a window to breathe on a second story or above window

rubble underfoot, cutting feet on glass or wood splinters, searing burns, intense heat, blistering palms from touching something too hot, pressing a towel or shirt to the mouth and nose in an attempt to breathe cleaner air, wrapping shirts around hands to protect..

Helpful hints:

–The words you choose can convey atmosphere and mood.

Example 1: I crammed myself tight into the corner so the flames couldn’t find me. Mr. Bear’s hard plastic nose dug into my chest but I didn’t dare loosen my grip on him. Across from me, the dolls on my shelf began to change, their fine blond ringlets shrinking into black frizz and then crumbling into dust. They stared at me, black bristles poking out their heads, their smiling faces shifting and drooping, crying plastic tears. I pushed my face into the soft fur of Mr. Bear and pretended I was at Grandma Hiller’s, hiding in the linen cupboard, waiting for her to find me…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Simile) As Mary lay there, her face pressed to the warm floor boards, she pulled in a final, reedy breath. Time slowed, and darkness began to close in on her like the heavy velvet curtains that signalled the end of a theatre performance…

Think beyond what a character sees, and provide a sensory feast for readers

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

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Reader Interactions

May 31, 2021 at 11:17 pm

Thank GOD I found this!! I was searching high and low for ways to help me describe what a character was smelling when it came to a burning building (and the internet was NOT being helpful!). I have the Setting books and one of your others as well. So when I saw this was by you guys and it had the other stuff with it, too, I rejoiced!

April 26, 2010 at 12:08 am

*shivers* I can hear, smell, and see this. You are amazing! Thank you for the list.

April 25, 2010 at 8:33 pm

I think it’s cool how you called out the different smells for different materials – you have such a well-rounded approach to description

April 25, 2010 at 6:36 pm

Bish, Ouch is right. I would never wish fire upon anyone. Such a terrible force.

Shannon, you crack me up. And yes, do send it on–I’d like to see how it turned out. 🙂

Julie, I’m glad I got this one right. I’ve asked a few people to look it over in the field to make sure I didn’t miss anything huge.

Martha, so glad you found your way over here and the post is just what you needed. 🙂

Dean, you are on a roll! Buy a lottery ticket!

Mary, Thanks!

Stina, LOL!

April 25, 2010 at 4:03 pm

Gee, where were you when I was working on my last book? I had to torch my house just to figure it all out. 😉

April 25, 2010 at 10:52 am

This is another great post, Angela. I’m impressed by all the good work you put in on these.

The image of melting dolls’ faces will stay with me for a long time!

April 25, 2010 at 9:59 am

Am I lucky today!! first, I got paid for some drawings, then a friend I haven’t seen for a long time called and this!! I found a blog really worth following..

So I’m now a follower and bookmarked this page so I can come back anytime I want… easily.

More Power!!

April 25, 2010 at 7:17 am

I was referred over here by a gal in RWA during a discussion on desription and the senses. Wow, am I glad I made the trip.

Just in time too! The opener on my new ms is a fire scene… and look what to my wondering eyes should appear?? lol.

Awesome post! I’ll be stalking your blog for sure.

April 24, 2010 at 9:51 pm

My husband is a firefighter and can relate to your mood words. Great stuff!

April 24, 2010 at 8:44 pm

See how you are? You post things like this, and I become utterly dependent upon you! ha ha ha. You really are a blog I couldn’t live without.

P.S. I have 1-2 more days worth of work and then I think I’m ready to query. If you want to see the final version (just for fun – no crit. obligation) I’d be happy to send it to you. 🙂

April 24, 2010 at 7:08 pm

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14 Stylish Ways to Turn Your Fireplace Into a Focal Point

DESIGN:  ASHLEY MONTGOMERY DESIGN

Is there anything better than cozying up around the fireplace? Whether you're on the #hygge train or not, there's a reason that this homey spot is often the central point of any family gathering. While most historic fireplaces have now been downgraded to "ornamental" (i.e. non-functioning) status, this design feature still holds a unique pull for many homeowners—and it's easy to see why.

But if you're looking to really level-up the impact of this architectural detail, we've got a few tricks up our sleeves. From glamorous mirrored elements to classic tiled hearths and even a few clever hacks for making a small or off-center fireplace into the grand focal point you've been dreaming of, these chic fireplace design ideas prove that there's nothing standing between you and a truly jaw-dropping fireplace feature.

Start planning now, and you'll have an irresistible new heart of the home well before temperatures drop this year—just in time for holiday guests and seasonal decorating to-dos.

Here are our favorite fireplace decor and design ideas that will turn any hearth into a statement-making home fixture.

Play With Patterns

Design: Ashley Montgomery Design

Contrasting tile or stone is a great way to accentuate your fireplace—and laying it in a herringbone pattern is a serious step up. We love how this light colored tile really "pops" against the dark painted mantel. And best of all, it's a highly adaptable look that can read as classic or modern, depending on your taste.

A clear lucite coffee table creates a feeling of lightness and airiness in this room—and makes sure the view of the fireplace is unobstructed, while providing some much-needed surface space.

Embolden Your Built-Ins

Design: Ashley Webb Interiors

Blessed with built-ins? Try painting them a high-contrast hue to draw the eye toward your fireplace feature. This creamy white painted fireplace looks much more attention-grabbing when flanked with peacock blue bookcases—a very on-trend hue we've been seeing a lot of lately.

Light It Right

 Design: Becca Interiors

Use lighting to your advantage when turning your fireplace into a focal point. A pair of artful sconces accentuates the architectural details of this mantel, and when switched on, they cast a spotlight on your favorite home feature. (Plus, for non-functional fireplaces, a little warm glow provided by some well-placed lighting can take the place of a romantic, roaring fire.)

Reflect On It

Design: Bespoke Only

Your eyes aren't playing tricks on you—this fireplace is backed with a mirrored wall. Not only does it make the room look bigger, but it's basically impossible to ignore this gorgeous fireplace focal point when it catches the light from every angle. This is one look we'll definitely be adding to our list for our next living room remodel.

Built It Bigger

 Design: Chelius House of Design

Even if the opening to your fireplace is small in stature, that doesn't mean it can't become a main feature. "Fake" a bigger fireplace by extending the stone or brick, and mounting a longer mantelpiece to give it a more impactful effect. This will lend a more expensive and elegant look to your space, without requiring a costly fireplace replacement.

Design: Dan Rak Design

The same principle goes for fireplaces that are off-center on the wall. Introducing a larger mantelpiece tricks the eye to add some symmetry, while a second alcove—perfect for storing wood, whether ornamental or functional—adds some balance to the composition.

Colorblock It

Design: Devon Grace Interiors

Just when we thought the colorblocking trend was over—this fireplace truly stands out (in the best way) thanks to a clever paint job that highlights this wall, and a dreamy, muted grey tone that lends another graphic element to the mix. Coordinating grey trim ties the whole thing together, while a few well-placed lanterns add a warm and welcoming touch that feels subtly Scandi-inspired.

Use The Rule Of Threes

 Design: Devon Grace Interiors

Mounting art over the mantel is nothing new, but using the rule of threes to your advantage can help add a cohesive, coordinated feel to the space. Try a triptych of paintings or some simply hung prints as seen here—the repetition will lend more weight and impact to your fireplace feature.

Embrace The Unexpected

 Design: Dwell Aware

A powder-pink mantel? Absolutely. This traditional red brick fireplace suddenly looks infinitely more fresh and modern with the addition of an unexpected paint color—and it shows off the personality of the home's inhabitants. (And isn't that the most important thing of all?)

Be A Shape-Shifter

Design: Home By Polly

This space has it all—colorblocked walls, a round mirror, an elegant arched alcove... and we love how it all comes together. If you're lucky enough to have some built-in character like this archway, mimic the shapes already seen in your home and play them up. A round mirror echoes the rounded arch, while an on-trend pink parallelogram plays up the look of the fireplace.

Rehab Your Brick

Design:  Black Lacquer Design

There's no law that says brick fireplaces need to be traditional. Even the most symmetrical and unassuming of the bunch can be transformed into a total statement-maker with a few coats of paint—like this vibrant purple version brilliantly illustrates.

Find The Right Filler

 Design: Katie Hackworth

Decorative, non-functional fireplaces offer a great opportunity to use some creative and stylish filler items to add an eye-catching element. Stocking the fireplace with wood, oversized pillar candles, or even magazines can be just the eclectic touch a space needs.

Keep It Going

Design: Reena Sotropa  

A wide expanse of shelving offers so many options for styling shelfies throughout the year—so it's no mystery why we're obsessed with this ultra-long extended mantel idea . The mixed-material aspect is something we've never seen before, and we love the high-impact, symmetrical look of having shelving on each side of the fireplace.

Go For Faux

Painting an entire wall (fireplace included) in this verdant hue is one thing, but what really sets this space apart is the subtle differentiation between the fireplace wall and the surroundings. A unique wallpaper inspired by the Japanese art of kintsugi  in the same hue adds just the right amount of depth and gold shine to this jaw-dropping room.

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Craft the perfect creative writing prompt from Microsoft Designer's AI images

march 22, 2024

by Monica Jayasinghe

Hello, fellow educators! I recently discovered an exciting way to create engaging writing prompts for my students using AI and Microsoft Designer . The results were amazing, and I can't wait to share this fun and innovative approach with you!

Describing the Vision:

To get started, head over to Microsoft Designer . We'll use the power of AI to generate an image that will serve as the foundation for our writing prompt.

We'll use Image Creator , where you can describe the image you want to create. The goal is to generate an image that will capture your students' imagination and inspire them to write.

For this example, I entered the prompt, A spacecraft landing near a house, futuristic, mysterious.

Choose the image you want to work with

Once you select Generate , Microsoft Designer will provide you with a variety of AI-generated images. Since we're creating a writing prompt, look for an image that has space for adding instructions and is easy to read.

You'll be amazed by the number of options available! When you find an image you like, click on it and select Edit image .

Customize the image

After selecting your preferred image, it's time to customize it.

• Click on Resize in the top panel and adjust the dimensions to match a PowerPoint slide. This will ensure that the image fits perfectly when you're ready to present it to your students. You can also align the image anywhere on the page to create the perfect composition.
• In the box labeled AI tools , you'll see additional customization options. Consider playing with the filters to update the mood and color scheme of your image.

Add instructions and text

To make the writing prompt clear and easy to read, click on the existing text and customize it. To add a heading, click on Text in the left panel. The right panel will populate with even more ideas you can use.

In this example, I changed the color to white and added a story starter.

Engage your students

The possibilities for using AI-generated images as writing prompts are endless! Here are a few options:

Get inspired by the artwork

The most obvious way to use these images is as direct inspiration for student writing. Generate a bold, fantastical, emotional, or silly image and have students write a story about what's happening in the image.

Try this prompt: A whimsical classroom under the sea. The teacher is a wise old octopus. The classroom is decorated with shell desks and seaweed streamers .

Bring stories to life

Another great idea is to take an excerpt from a story you're reading in class and use the AI to generate an image that matches that specific part of the story. This will spark engaging discussions among your students and bring the story to life in a whole new way.

Bring units to life

Why stop at a story? You can also generate images that fit the theme of a unit you're working on, whether you're exploring weather patterns or reliving life on the Oregon Trail.

Consider setting aside some time each day or week for students to free write or journal. Kick off the writing session with an AI-generated image, then throw on some light classical music and let them write. Mix up the kind of images you show them, from lush landscapes to abstract pop art, and see what it inspires.

Try this prompt: An abstract painting in vivid colors

You can even include animated options. After you generate your image in Microsoft Designer, select the image and Create Design . In the right-hand panel that appears, you'll see several design options. Usually, one or more of these options will be animated. Select the animated option and add it to your PowerPoint!

Accessing your AI-generated images

One of the best features of Microsoft Designer is that all the images you create using AI are saved in the My Media section. This means you'll never lose your creations and can easily access them whenever you need them.

This feature enables educators to curate a collection of visuals for various writing themes, be it aliens, dragons, or any other imaginative scenario.

Wrapping up

Microsoft Designer is a game-changer for educators looking to inspire their students' creativity. The AI-generated images, customization options, and easy access to your creations make this a powerful tool for any classroom.

Head over to designer.microsoft.com today and start creating unforgettable writing prompts!

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A Literary Tour of Moscow

It’s hard to count the exact number of great Russian writers who showed their love for Moscow. The city has attracted and prompted stories for a long time now, inspiring many to express their writing talent. Thus, Moscow’s literary sights are fully deserving of our attention, and this guide gladly presents you six of them, from museums to apartments.

1. nikolay gogol museum.

Library, Museum

2. The State Museum of Mayakovsky

3. Turgenev's Family House

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5. The Apartment of Dostoevsky

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6. The Mikhail Bulgakov Museum

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Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.

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Top 20 Facts about the City of Moscow

Moscow Metro- by A.Savin - Wikimedia Commons

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Assumption Cathedral – Wikimedia Commons

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Moscow Kremlin on foreground- by Pavel Kazachkov- Wikimedia Commons

3. Moscow hosts Russia’s largest zoo

Moscow Zoo entrance- by A.Savin – Wikimedia Commons

4. Trains with the most frequency in the world are found in Moscow

Moscow Metro- by A.Savin – Wikimedia Commons

 5. The City of Moscow hosts the World’s second-largest library

Russian State Library main building interior- by A.Savin – Wikimedia Commons

6. The City of Moscow is home of the Babushka doll

Babushka dolls variety- by Ph. Saget – Wikimedia Commons

7. The City of Moscow hosts the world’s largest university building

Moscow State University- by Dmitry A. Mottl- Wikimedia Commons

8. The City of Moscow hosts one of the largest urban parks in the world

Visitor at Izmailovo Park- by Kristy2906 -Wikimedia Commons

9. Europe’s largest botanical garden is found in Moscow

Moscow’s Botanical Garden- by AlixSaz- Wikimedia Commons

10. The City of Moscow boasts 7 identical skyscrapers

Seven Sisters side by side pictures- by okruz- Wikimedia Commons

11. The City of Moscow FBI buildings were once torture chambers

Peasants tortured by Saltykova- by P. V. Kurdyumov – Wikimedia Commons

12. The first man in space was buried in Moscow

Yuri Gagrin- by P. V. Kurdyumov- Wikimedia Commons

13. Victory Obelisk is Moscow’s highest Monument

Victory Obelisk- by GAlexandrova- Wikimedia Commons

14. Moscow has an underground river

15. moscow’s stray dogs can navigate the metro, 16. lenin’s corpse is preserved in a mausoleum in moscow’s red square.

Lenin Mausoleum at the Red Square- by NVO- Wikimedia Commons

17. The largest bell in the world is found in the City of Moscow

Tsar Bell- by W. Bulach- Wikimedia Commons

18. The City of Moscow has billionaire residents

19. old moscow was segregated, 20. the city of moscow and england share an insignia.

St. George on Horseback slaying the dragon- by W. Bulach- Wikimedia Commons

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

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

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

Index terms

Keywords: , designing a writing class to foster engagement.

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

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

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

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

Traveling a Good Deal in Moscow

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

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

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

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

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

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

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

Windy. Elms Bare.

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

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

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

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

12 For the grassy lawn, she wrote:

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

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

The Blessing of Being Lost

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

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

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

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

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

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

36 Views—Or, When You Invert Your Head

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

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

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

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

Beneath the Smooth Skin of Place

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

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

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

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

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

Bibliography

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

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

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

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

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

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

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

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

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

Bibliographical reference

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

Electronic reference

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

About the author

Scott slovic.

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

By this author

• Introduction (version en français) [Full text] Introduction [Full text | translation | en] Published in Caliban , 64 | 2020
• To Collapse or Not to Collapse? A Joint Interview [Full text] Published in Caliban , 63 | 2020
• Furrowed Brows, Questioning Earth: Minding the Loess Soil of the Palouse [Full text] Published in Caliban , 61 | 2019
• Foreword: Thinking of “Earth Island” on Earth Day 2016 [Full text] Published in Caliban , 55 | 2016

The text only may be used under licence CC BY-NC-ND 4.0 . All other elements (illustrations, imported files) are “All rights reserved”, unless otherwise stated.

Full text issues

• 67-68 | 2022 Religious Dispute and Toleration in Early Modern Literature and History
• 65-66 | 2021 Peterloo 1819 and After: Perspectives from Britain and Beyond
• 64 | 2020 Animal Love. Considering Animal Attachments in Anglophone Literature and Culture
• 63 | 2020 Dynamics of Collapse in Fantasy, the Fantastic and SF
• 62 | 2019 Female Suffrage in British Art, Literature and History
• 61 | 2019 Land’s Furrows and Sorrows in Anglophone Countries
• 60 | 2018 The Life of Forgetting in Twentieth- and Twenty-First-Century British Literature
• 59 | 2018 Anglophone Travel and Exploration Writing: Meetings Between the Human and Nonhuman
• 58 | 2017 The Mediterranean and its Hinterlands
• 57 | 2017 The Animal Question in Alice Munro's Stories
• 56 | 2016 Disappearances - American literature and arts
• 55 | 2016 Sharing the Planet
• 54 | 2015 Forms of Diplomacy (16 th -21 st century)
• 53 | 2015 Representing World War One: Art’s Response to War
• 52 | 2014 Caliban and his transmutations

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