how to describe london creative writing

What to Include into a Descriptive Essay about London

You should probably start with the basic information about the city – the fact that it is a capital of Great Britain, its approximate population, geographical position and so on – however trivial it all may seem to be, your descriptive essay should be complete, so don’t omit any facts just because you think they are not all that interesting.

Then you should probably mention some landmarks of the city’s history – in fact, a descriptive essay doesn’t necessarily presuppose reciting the place’s past, but in case of London it would be really hard to describe it in its modern condition without paying due attention to what made it the way it is now. You’d want to mention that it dates back almost two thousand years and was founded as Londinium during the Roman rule. Other notable episodes of the city’s history are also worth mentioning, for example, the Great Fire and the Great Plague. However, don’t focus on them too much – after all, your main interest lies with the city in its modern state.

There is, however, a lot to be said about it as well. You will gain greater success if you specialize a little bit, because it is really hard to encompass all the factors in one little essay. For example, you may pay special attention to the ethnic composition of current London population and the size of different religious and cultural groups present there. Or you may follow a well-trodden path and elaborate upon famous historical buildings and places of interest, such as the Tower of London, Houses of Parliament, Buckingham Palace and others.

In addition, it is useful to keep in mind that it would be a futile attempt to cram all the information you have on London into one essay. It is hard even with simpler subjects, and in case of such a well-known and ancient city it would be utterly impossible.

Paper title: Descriptive Essay: “Visiting California”

Academic level: High school

Discipline: Geography

Paper Format: MLA

Paper title: Descriptive Essay: “Cultural Life and Traditions of Scotland”

Discipline: Culture

Paper Format: APA

Paper title: Descriptive Essay: “London”

Academic level: College (1-2)

Discipline: English -101

Our statistics

  Type of Traveler

  Type of Experience

Literary journeys through london: capturing the city’s essence in words.

London — a city where history whispers from every corner, and modernity hums in the air. It’s not just the beating heart of England but a muse to some of the greatest literary minds. Dive into a journey where words paint London’s essence, as seen through the eyes of renowned authors.

A city steeped in history and bustling with contemporary life, London has long been a source of inspiration for writers around the globe. Its streets, brimming with stories, have been immortalized in countless literary works. From the fog-laden alleys of Victorian novels to the vibrant, eclectic neighborhoods depicted in modern fiction, London’s multifaceted persona has been captured in myriad ways.

Interestingly, London is not just a city with a rich literary heritage; it is a city of superlatives. In fact, many consider London as one of the best capital cities for book lovers . And with over 800 bookshops scattered across the city, this alone speaks volumes about London’s unbreakable bond with literature.

Today’s blog is more than a mere literary analysis; it’s a celebration of London’s enduring allure, a city that has withstood plagues, fires, and wars yet continues to thrive and inspire. This exciting literary journey through London will show us that this city isn’t just a marvelous place to visit. It’s a living, breathing character that has played a pivotal role in shaping some of history’s most profound literary works.

T.S. Eliot’s Modernist Literary Journey of London: A City of Solitude

In T.S. Eliot’s “The Waste Land ,” London emerges as a character steeped in desolation and introspection. The poem, a mosaic of cultural references and fragmented narratives, mirrors the disjointed experience of post-World War I London. Eliot’s depiction of the city, mainly through lines like “Unreal City,” encapsulates a London grappling with the aftermath of war and the onset of modernity.

The Thames River, a recurring motif in Eliot’s work, becomes a symbol of both London’s historical depth and its existential ennui. As you walk along the Thames today, you can almost hear the echoes of Eliot’s words, blending with the rhythmic flow of the river.

However, Eliot’s London is not just about the physical spaces; it’s a landscape of the mind, reflecting the city’s transformation and the collective consciousness of its inhabitants. This portrayal invites readers to experience London not merely as a geographical entity but as a reflection of the human condition in a rapidly changing world.

Moreover, Eliot’s London is not just a backdrop but a reflection of the fragmented modern experience. Walking through the city, one can sense the juxtaposition of the historical and the contemporary, much like in the poem Eliot wrote. His portrayal invites us to look beyond the physicality of London, seeing it as a symbol of human resilience and transformation in the face of changing times.

Virginia Woolf’s Personification of London’s Spirit

Meanwhile, Virginia Woolf’s “Mrs. Dalloway” paints a literary journey through London in vibrant, pulsating hues. With her stream-of-consciousness style, Woolf captures the city as a living entity, interweaving its essence with the characters’ inner lives.

The novel takes us through the streets of Westminster , where the titular character, Clarissa Dalloway, experiences the city’s multifaceted personality. St. James’s Park, with its tranquil beauty, becomes a backdrop to Clarissa’s introspections, symbolizing both the city’s enduring charm and the fleeting nature of time.

Woolf’s London is a city of contrasts — the bustling Piccadilly Circus and t he solemn Big Ben , each location reflecting different aspects of the human psyche. In “Mrs. Dalloway,” London is not just a setting; it is a character that interacts with, influences, and is shaped by the people who inhabit it.

Furthermore, Woolf’s literary journey of London is a canvas of emotions, where the city’s architecture and landscapes mirror the internal journey of her characters. As one traverses the areas of Bloomsbury or along the Thames, Woolf’s lyrical prose resonates, making the city feel like a living, breathing companion to those who wander its streets.

Stephen Fry: Language as a Metaphor for London’s Complexity

In his literary reflections of London, Stephen Fry draws a compelling parallel between the city and the English language. He sees both as amalgamations of diverse influences, constantly evolving and adapting. Much like the language spoken within it, London is a tapestry woven from various histories, cultures, and ideas.

Fry’s analogy leads us through the linguistic landscapes of London — from the historic debates at Speaker’s Corner in Hyde Park to the innovative theaters of the West End . Each of these locations demonstrates London’s dynamic nature, akin to the fluidity and richness of English.

London, in Fry’s view, is a city that communicates. Its streets and buildings tell stories of the past and present, much like words that carry meanings shaped by their use and history. This perspective invites readers to explore London not just as a place but as a living, evolving language. Aside from that, Fry’s analogy also extends to London’s vast array of literature and art, suggesting a city that’s as varied and expressive as the language itself. From the historical richness of the British Museum to the avant-garde galleries in East London, each corner of the city contributes to its linguistic tapestry.

Anna Quindlen: Historical Layers On A Literary Journey Of London

In “Imagined London” by Anna Quindlen , the author explores London as a palimpsest, a city where history and modernity coexist in a fascinating interplay. Quindlen guides readers through historical landmarks that embody London’s layered past, such as the Tower of London , where centuries of history whisper through its ancient stones, and the modernistic Shard, symbolizing the city’s continual evolution .

Her narrative wanders through the cobblestone streets of the City of London, unveiling tales of yesteryears amidst the bustling financial district. Quindlen’s London is an intricate tapestry, where each thread — from the Roman Londinium to today’s cosmopolitan hub, adds depth and color to the city’s narrative.

Moreover, Quindlen emphasizes the city’s ability to tell its story through its landmarks and streets. A walk through places like Covent Garden or the South Bank is not just a physical journey but a travel through time, where each stone and building has a story to tell.

Ben Aaronovitch: Diversity as London’s Hallmark

In “ Moon Over Soho,” Ben Aaronovitch presents London’s timeless Soho that’s vibrant with diversity and magical realism. His portrayal takes us into the heart of Soho , a melting pot of cultures, cuisines, and characters, reflecting the city’s multicultural ethos.

Aaronovitch’s literary journey in London is alive with the rhythms of jazz in smoky clubs, the chatter of diverse languages on busy streets, and the mystical undercurrents beneath the city’s surface. This depiction showcases London as a city where tradition and innovation, reality and fantasy, coexist in a dynamic equilibrium.

Furthermore, Aaronovitch’s London is a celebration of its cultural and supernatural diversity. The city, as portrayed in his narrative, is not just a geographical location but a realm where the extraordinary coexists with the mundane, inviting readers to explore and embrace its many layers.

Unveiling London: A Literary Mosaic of Time and Culture

Our literary journey through London — starting with T.S. Eliot’s reflective cityscapes and ending with Ben Aaronovitch’s celebration of its diversity — reveals the city as a multifaceted character in the world of literature.

Each author’s portrayal, from Virginia Woolf’s personified city to Anna Quindlen’s historical narratives, offers a distinct lens through which to view London. This literary exploration enhances our understanding of London not only as a geographical space but also as a living entity with its own stories and secrets. As we close this literary sojourn, we invite you, the reader, to continue the exploration. Whether through the pages of a book or the streets of London itself, discover the endless stories that this historic yet ever-evolving city has to offer. London awaits your footsteps and your imagination. Experience London’s historical streets through your own eyes.

Our resources section features content from travel writers and experts in vacation rentals, STRs, and alternative accommodations. Our team of writers offers unique perspectives and insightful tips to help you earn more from your property investment. Maya is an amalgam of these writers.

A Curated List of the World’s Most Secluded Destinations

The Frozen Danube River and Other Top Winter Destinations

Behind the Scenes: The Making of the World’s Iconic Landmarks

French Riviera Wonders: A Coastal Paradise

Discover Timeless Travel: A Modern Dublin Traveler’s Guide to Ireland’s Capital

Juliet’s House Verona: Unveiling the Heart of Shakespeare’s Romance

Ephesus: A Traveler’s Guide to the Heart of Ancient Civilization

Related posts, explore captivating destinations worldwide from hidden gems to iconic landmarks, dive into the wonders of travel and get inspired for your next adventure..

Exploring the World Through ABBA’s Hits: A Travel Enthusiast’s Guide

Vienna in 1913: The Cradle of Influential World Leaders and Thinkers

Yugoslavia’s Eurovision Legacy: The Songs That Shaped a Nation

Exploring Music Video Trails: Where Famous Songs Meet Iconic Cities

Timeless Treasures: Exploring the World Through Vintage Postcards

20+ Best Words to Describe London, Adjectives for London

Welcome to the enchanting city of London, a bustling metropolis that captures the essence of history, culture, and modernity. London, the capital of the United Kingdom, is a vibrant and diverse urban landscape that offers a kaleidoscope of experiences. From its iconic landmarks like Tower Bridge and Buckingham Palace to its charming neighborhoods, London exudes a unique charm that can be described in countless words. Let’s embark on a journey through a delightful selection of words that best portray the captivating spirit of this magnificent city.

Table of Contents

Adjectives for London

Here are the 20 Most Popular adjectives for London:

• Captivating
• Multicultural
• Picturesque
• Sophisticated
• Unforgettable

Words to Describe London with Meanings

• Alluring : Attractively fascinating or charming.
• Captivating : Holding attention with great interest.
• Diverse : Showing a wide range of variety.
• Enchanting : Delightfully charming and captivating.
• Glorious : Having great beauty or splendor.
• Historic : Significant in historical importance.
• Iconic : Representing a well-known symbol or image.
• Jubilant : Full of joy and celebration.
• Lively : Full of energy and enthusiasm.
• Majestic : Impressively grand and stately.
• Multicultural : Exhibiting diverse cultural influences.
• Opulent : Lavish and luxurious in appearance.
• Picturesque : Visually charming and picturesque.
• Quaint : Attractively old-fashioned or unusual.
• Regal : Exhibiting royal or majestic qualities.
• Sophisticated : Elegant and refined in character.
• Thriving : Growing and prospering vigorously.
• Unforgettable : Leaving a lasting impression in memory.
• Vibrant : Full of life and energy.
• Whimsical : Playfully quaint or fanciful.

Example Sentences for London Adjectives

• The alluring lights of London beckoned tourists.
• The captivating performance left the audience mesmerized.
• London’s population is incredibly diverse .
• The enchanting gardens delighted visitors of all ages.
• The view from the hill was simply glorious .
• The city’s architecture holds great historic significance.
• The Tower Bridge is an iconic symbol of London.
• The city celebrated with jubilant festivities.
• London’s streets are always lively and bustling.
• The palace’s interior showcased majestic opulence.
• London’s culture is rich and multicultural .
• The luxurious hotel offered an opulent experience.
• The countryside offered picturesque landscapes.
• The quaint shop sold unique souvenirs.
• The queen’s attire had a regal elegance.
• The gala’s decor was sophisticated and stylish.
• The city’s economy is thriving with innovation.
• The show’s grand finale was unforgettable .
• The market’s atmosphere was vibrant and lively.
• The art installation was delightfully whimsical .

Explore More Words:

Words to Describe France

Adjectives for America

Adjectives for Military

How to describe London in writing?

London can be described as a captivating blend of historic landmarks, vibrant culture, and diverse communities, forming an enchanting tapestry that tells the tale of a dynamic metropolis.

What is unique about London?

London’s uniqueness lies in its rich history, iconic landmarks like the Tower Bridge and Big Ben, world-class museums, and the fusion of traditional charm with a modern and cosmopolitan lifestyle.

Why is London a beautiful place?

London’s beauty emanates from its stunning architecture, picturesque parks, scenic river Thames, and the seamless integration of its historical heritage with contemporary urban living.

Related Posts

20+ Best Words to Describe Drinks, Adjectives for Drinks

20+ Best Words to Describe Veteran, Adjectives for Veteran

20+ Best Words to Describe Strength, Adjectives for Strength

20+ Best Words to Describe Library, Adjectives for Library

20+ Best Words to Describe Ocean, Adjectives for Ocean

20+ Best Words to Describe Psychology, Adjectives for Psychology

About the author.

Hi, I'm USMI, engdic.org's Author & Lifestyle Linguist. My decade-long journey in language and lifestyle curation fuels my passion for weaving words into everyday life. Join me in exploring the dynamic interplay between English and our diverse lifestyles. Dive into my latest insights, where language enriches every aspect of living.

• International edition
• Australia edition
• Europe edition

Guardian Live: How to write a London novel

Knowing your way around, reading your predecessors, and avoiding cliche were among the tips shared by Tony Parsons, Will Self and AL Kennedy

From Islington to Earl’s Court, Peckham Rye to Ladbroke Grove, just about every area of London has a rich, historic literature of its own. Countless writers down the ages have sought to make some sense of this labyrinthine metropolis: Dickens wittily unravelled the social fabric of the Victorian era, Virginia Woolf perfected the modernist city symphony and Muriel Spark elevated the quirks of postwar working-class life to literary greatness. But the concept of the London novel is a strange and fluid thing, hard to define beyond its obvious geographical premise. So how might aspiring novelists set about penning a London masterpiece?

For a recent Guardian Live event , Will Self, author of The Book of Dave; AL Kennedy, whose Serious Sweet is set for release this week, and Tony Parsons, bestselling author of Man and Boy, came together to share tips on how best to write about this city.

You must know London ...

“You’ve got to know the city,” explained Self, who takes a rambling, psychogeographical approach to his work and clearly knows a thing or two about the capital. “The long view is essential for the city writer,” he said. “You must feel the shadow … feel your own evanescence.” Amid multiple tangents and digressions, he touched on the repeal of the Test Acts , the history of municipal socialism in the city and nigh on 40 years of “unrestrained neoliberal globalising bollocks”, demonstrating a little of his own broad knowledge. He’s an advocate of exploring the past and not getting overly bogged down in the the present day. “You can get a bit overexcited about the present, in my view,” he said.

... but use an outsider’s perspective

Of course, knowing London doesn’t mean you have to have lived there all your life, nor does it necessarily require some kind of complete understanding. Kennedy seems in favour of an intimate, almost microcosmic line of action. “So much about London is about a very small view,” she said, explaining that it was the likes of Spark’s shabby and weird – but lovely – stories that initially attracted her to the city.

Like Spark, Kennedy is Scottish, and she appears to use her outsider’s vantage to observe and perceive things in a way that perhaps those who have long inhabited the city don’t. Whether coming at things from a “newly-arrived” or “here-forever” point of view, it stands to reason that a clear idea of what you want, or need, to say is integral. “What’s your focus?” Kennedy asked. “What kind of research are you doing? Is it present day? Is it past? What’s resonating? What isn’t resonating? It’s a research project like any other research project, but it will also reflect what you feel is important about the world.”

For Serious Sweet, she explained, she recorded instances of kindness between strangers. “London partly floats on those,” she said, “because it’s almost intolerable without [them]”.

Read your predecessors

Familiarising yourself with your fellow London writers, be they novelists, essayists, poets or historians, is a given. Referring again to the importance of taking the long view, Self implored us to “look at the great London writers of the past … De Quincey’s Confessions of an English Opium-Eater – very much about man coming in and out of the city, coping with it, not coping with it, fucking up. Defoe’s [A] Journal of the Plague Year, a very great early work of the psychogeography of the city – again, a similar sense of movement. Dickens, of course, Jack London’s The People of the Abyss.” These authors all make use of the perambulating approach adopted by Self, and they all drifted in and out of London.

Avoid cliche

“I don’t think there is a distinctly London novel,” said Self, when asked what cliches of the genre should be given a wide berth. “I think the city is so big and looms so large that you can treat it as a world entire, so it’s the same problems that you have with any novel of place. Cliche is the endless enemy; whatever the cliche is, it has to be avoided.”

Parsons described how he cashed in his pension so he could take two years off to write his first crime novel, during which time he thought deeply about how to avoid London cliches – one of which, he said, is Scotland Yard. “You just have … to avoid anything that seems as though it’s been done to death. My novels are set in West End Central because one of the first pieces of journalism that I ever did … was writing about the vice squad [there] … So I knew it and it seemed like a good way to swerve the cliche.”

And don’t try to write a London novel

With all its regional, generational and other contextual variations, perhaps a definition of the London novel beyond that basic – and arguably tenuous – geographical premise is impossible. As such, is it a mistake to set out to write one?

“Ideally,” Kennedy said, “whatever you’re writing about, all of the parts of it will fit organically, and – hopefully – as a writer … if you were going to walk out of the building and get hit by a truck, you would have said the thing that burned within you that you had to say. And it’s not like it’s going to be a canonical novel, or it’s going to be a London novel, or it’s gong to be a woman-in-peril novel; it’s going to be the thing that you have to write.”

• Creative writing

Comments (…)

Most viewed.

• Online Writing Classes
• Writers Workshop
• Take A Tour
• Craft Essays

Sixth Sense Settings: Writing Rich, Descriptive Scenes

• Charles Dickens

Original image via Pexels

What the heck are we talking about.

Welcome to November. If you are participating in National Novel Writing Month (NaNoWriMo) , then you have just embarked on your month-long novelling odyssey. To help you reach your daily word counts, I’m going to focus on ways to enrich your description. If you’ve spent even a little time in the creative writing atmosphere, you’ve probably heard the adage “show, don’t tell.” Generally speaking, it’s a reminder to writers to describe what happened in a scene instead of just blurting it out. For example:

I fell asleep at the wheel, and I drove into a tree.

Sure, the reader knows what happened, but written this way, it doesn’t engender much interest or emotion. Here is another way to write the same scene.

I awoke to the violent crunch of metal on wood, the hiss of the radiator, and the sickly sweet smells of antifreeze and gasoline.

By invoking a few senses, the scene comes to life. Adding the sights, smells, and sounds allows the reader to imagine the moment. It’s a relatively simple way to better engage your reader and bring him or her deep into the world you are creating. In addition to the five traditional senses—sight, touch, smell, taste, and sound, use of the sixth sense—mood (not the ability to see dead people) is equally important to writing rich, believable scenes. It can also be called tone. Whatever you call it, even the most detailed description can fall totally flat without deliberate evocation of the appropriate emotion. Let’s try that car-crashing-into-a-tree example again. Below are two examples that each have a particular tone or mood that enhances the actual description.

I opened my eyes to find my Caddy hugging a tree; its shiny blue hood was now ruffled like a prom dress, the radiator was sighing like a lover, and the sweet aromas of antifreeze and gasoline danced to the rhythmic tinks and pops of the car as it settled into its arboreal embrace.

Car. Tree. Bits of bark, leaves, and metal shards everywhere. Blood. I pass a tongue over my smarting lip. My blood. Oh god. What is that smell? Sweet, chemical... and is that a hint of…GAS? OhgodIgottagetouttahere!

In the first example, I overlaid an emotion not typically associated with a car crash—tenderness. The imagery and metaphors suggest a lighter, less scary moment. Though, the reader could reasonably assume that the speaker is not in his or her right mind, too. That adds the question of the reliability of the narrator, and if you were trying to demonstrate to your reader that your narrator can’t be trusted, using this sort of juxtaposition might be a good way to start. (We’ll go more in depth on reliable narrators another day, but if you can’t wait, here’s a decent explanation on the web.)

The second example uses short sentence style and staccato pacing to evoke a panicked tone. Details are fed to the reader in the order that the narrator notices them. Interjections of emotive phrases heighten the sense of danger. It’s a more realistic reenactment of a car crash and the person experiencing it.

See a Master at Work

Ok, now that you’ve read my attempts, let’s review a piece from a Master of Description. Charles Dickens is one of those writers whose settings are known by people who haven’t even read a single sentence of his work. Dickens’ early to mid-1800s London is the baseline for so much of how we see and remember that period of time in books, movies, and theater. His stories were fictional, but his descriptions of his home-city were thoroughly researched and deliberately realistic. They resonate with us even now, long after that city has been replaced by a modern metropolis.  

Let’s read the opening chapter from Bleak House :

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes — gone into mourning, one might imagine, for the death of the sun. Dogs, undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest. Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little ’prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and hanging in the misty clouds.

Dickens sets the scene immediately with the simple statement of “London.” Then he draws the reader in closer and begins to show him or her bits of this very specific kind of London in a very specific kind of weather. He evokes all six sense as he moves from the physical environment to the particular experiences of certain people (and animals) who are affected by the weather. Imagine if he’d written this instead:

It was a muddy and foggy November day in London.

If you have some experience of London, or fog, or mud, or typical English November weather, you might be able to conjure a significant mental image. If you know Dickens wrote it, and you knew a little bit about him, you might imagine a few more details. If not, this would give you little to work with. The tone is flat, lifeless. The reader is not given a clear indication of how to feel about it, except by his or her own pre-judgments about fog, mud, November, or London.

Dickens, instead, pulls his reader into the world he’s setting up. Although this scene was contemporary to him, even a modern reader can picture the context of this moment… the omnipresent fog and the primordial mud that seeps into every crevice of life, hindering man and animal alike. It’s hard to read these paragraphs and not feel a shiver, not to smell a whiff of damp, not to sense the foreboding. The tone of the passage, as indicated by the book’s title, is truly bleak.

Now, It's Your Turn

For practice this time around, rewrite Dickens’ scene to convey a completely different tone. Keep the details the same, but change the word choice and metaphors to create a different mood. Do this for at least one other tone, if not two. Please post your versions as comments . I’d love to read them! If you don't want to post, email them to me: [email protected] .

Get  Bleak House  by Charles Dickens at Bookshop or Amazon

• Login to post comments

Column by Taylor Houston

Taylor Houston is a genuine Word Nerd living in Portland, OR where she works as a technical writer and volunteers on the marketing committee for Wordstock , a local organization dedicated to writing education. She has a BA in Creative Writing and Spanish from Hamilton College and attended Penn State's MFA program in Creative Nonfiction. She has taught writing at all levels from middle school to college to adult, and she is the creator of Writer’s Cramp , a class for adults who just want to write!

You Might Also Like...

More By This Author

To leave a comment Login with Facebook or create a free account .

LONDON.  Shadows in every corner, lurking at the back of every alley.  The flickering gas lights do little to hold them back.  People everywhere huddled against the cold and dark.  Some striding purposefully with a glint of menace in their eye, others shrunken in on themselves with anxious gaunt, faces. 

All the smells of a city, smoke, leather, the tang of horse manure, a damp air of rot rolling in from the river, and under it all a disturing hint of blood, death and decay.

Awesome, Bryan! That's great. I sure wouldn't want to be in London in that scene. YIkes. I love that you kept the dark mood, but darkened it up even more--closer to horror. London's not cold, it's downright deadly. Nicely done, and thank you for sharing!

Taylor, all of your articles have been wonderful. Are you planning on teaching a class on LitReactor? 

This is quite cool. I'm not participating in NANOWRIMO, but the column is appreciated.

Aw shucks, Raelyn. Thank you! At this time, I'm not set to teach for LitReactor, but ya never know. Thank you for reading. If you have any requests for topics for articles, let me know!

Thanks Derek! I haven't decided if I'm participating in NaNoWriMo this year or not. I did last year, and it was fun even though I didn't even hit 30k words. It's just nice to give yourself license to write a lot and not worry about editing it (until later.) Very freeing! I probably will this year, too.

Yes, the column and this article are appreciated. I often forget all about using smell in my scenes, which really stinks.

London.  The fog sits on the city like its own risen spirit exhumed from its stone and glass body.  Deep breaths sting, the air laced with a barbed chill.  Men hold tightly to their women’s elbows, as the pairs peel their shoes from the muddy glop caked across the city’s streets and corridors.  They step high in woolen garb like cadets on parade, and fine stockings are stained and ruined and even the shoes themselves are filled tight with foul earth. 

The day is not properly lit up, and the Sun seems feeble and lazy.  On the pockmarked streets where paths to work and home have been hard earned, children flicker in the earthen clouds like apparitions.  Painted with mud like miniature savages, they give chase to one another armed with fistfuls of mud to sling.  Their merry laughter and playful screams of ambush chime out in the nether hang, bouncing to and fro, while pedestrians jerk their heads nervously towards the sounds, as the spirit looms around them.

Fantastic, Andy! Thank you VERY much for sharing this with us. Love the description of the children and the juxtaposition of their merriment with the generalized atmosphere of hardship.

London. The beating heart of a rich and proud empire. A celestial shroud of fog cloaks the November morning in obscurity, but underneath the wet and the cold, the rich symphony of an energetic metropolis plays on the morning air. There is a resounding clangor of ships sailing up and down the mighty Thames, which is accompanied by softer, more personal notes; the raucous laughter of the pubs, the chaotic din of the markets, the slosh and sucking of mud as the city's inhabitants moved like a school of salmon through the busy streets. 

The pungent aromas of soot and horse dung are almost comforting, for they are able to pierce the veil of mist and remind the grey morning that there is life here.

High above the lively, industrious city, the majestic Tower of London, and Big Ben (the regal crown of the great hall of Parliament), punch through the fog. These stalwart stone sentinels stand firm as they look down in loving protection on their city, both splendiferous symbols of affluence and power.

A dank chill cuts to the bone of the wealthy and the destitute alike, but the warmth of chimney fires, and the emanations of heat from thousands of bodies help to keep the cold at bay.

Editor's Picks

LitReactor Shirts & Stickers Still Available!

Stephen Graham Jones on Trilogies, Deaths, Slashers, and Dog Nipples

Chuck Palahniuk's 'Consider This': A Reading List

Reading and Watching S. Craig Zahler

Dialogue: The Number One Mistake Newbie Writers Make

Learn with litreactor.

• Online Writing Courses
• Resources for Writers

The LitReactor Magazine

• The Frontpage

About LitReactor

• About the Site
• Team LitReactor
• Advertising Information
• Join Our Newsletter
• Contact LitReactor

Follow LitReactor

© 2016 LitReactor, LLC | Privacy Policy | Terms of Service

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

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

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

Here’s how to describe buildings in writing:

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

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

1. By Historical Period

Table of Contents

Different historical periods offer a plethora of architectural designs.

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

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

Some historical periods to consider are:

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

2. By Material

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

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

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

Examples of materials :

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

3. By Height

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

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

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

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

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

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

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

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

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

5. By Function

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

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

Examples of functions :

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

6. By Atmosphere

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

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

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

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

7. By Surroundings

Buildings don’t exist in isolation.

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

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

Context, in essence, is a silent storyteller.

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

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

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

8. By Color

Colors are a palette of emotions.

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

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

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

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

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

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

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

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

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

10. By Architectural Style

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

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

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

Examples of architectural styles :

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

11. By Cultural Influences

Every culture has its distinct architectural imprints.

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

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

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

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

12. By State of Repair

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

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

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

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

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

13. By Decorative Elements

Details matter.

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

Examples of decorative elements :

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

14. By Lighting

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

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

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

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

15. By Acoustics

Beyond the visual, what does a building sound like?

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

Acoustics can also serve as indicators.

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

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

16. By User Experience

How does one navigate or experience the building?

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

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

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

17. By Integration with Nature

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

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

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

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

18. By Innovations or Anachronisms

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

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

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

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

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

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

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

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

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

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

21. By Ornamentation and Artistry

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

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

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

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

22. By Patronage or Ownership

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

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

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

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

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

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

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

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

24. By Social and Economic Status

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

Mansions, penthouses, and gated communities often exude opulence.

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

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

25. By Sensory Appeal

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

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

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

26. By Folklore or Legend

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

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

Such tales add depth, intrigue, and cultural context.

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

27. By Climate Adaptation

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

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

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

28. By Relation to Other Structures

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

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

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

29. By Adaptive Reuse

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

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

Transformations show the evolving narratives of buildings.

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

30. By Emotional Resonance

How does a building make one feel?

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

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

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

31. By Historical Events

Many buildings carry the weight of significant historical events.

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

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

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

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

32. By Foundation

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

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

Different terrains require different types of foundations.

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

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

33. By Roof

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

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

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

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

34. By Landscape Integration

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

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

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

35. By Socio-political Context

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

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

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

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

36. By Architectural Philosophy

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

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

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

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

37. By Spiritual or Religious Significance

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

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

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

38. By Reflection of the Times

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

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

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

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

39. By Personal Stories and Anecdotes

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

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

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

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

40. By Flooring

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

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

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

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

41. By Urban vs. Rural Setting

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

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

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

42. By Ecological Impact

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

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

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

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

43. By Underground Space

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

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

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

44. By Human Interaction

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

Are its halls always crowded?

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

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

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

45. By Technological Advancements

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

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

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

46. By Adaptability and Flexibility

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

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

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

47. By Fragrance and Aroma

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

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

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

48. By Security Features

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

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

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

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

49. By Mystique and Legends

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

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

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

50. By Seasons and Weather

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

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

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

51. By Movement and Dynamics

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

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

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

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

52. By Proportions and Geometry

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

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

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

53. By Hidden or Secret Elements

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

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

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

54. By Time of Day

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

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

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

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

55. By Parking

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

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

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

Parking is a functional aspect that often gets overlooked.

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

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

56. By What Is Missing

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

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

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

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

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

57. By Literary Genre

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

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

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

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

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

50 Words to Describe Buildings

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

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

25 Phrases to Describe Buildings

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

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

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

Three Full Building Descriptions

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

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

The Old Manor House

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

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

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

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

Pinnacle Tower

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

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

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

Lilac Cottage

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

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

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

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

Final Thoughts: How to Describe Buildings in Writing

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

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

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

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

Related Posts:

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

Brittancia (Architechure)

• High School Study Abroad Programs
• High School Summer Abroad
• High School Summer Abroad Programs

Creative Writing in Literary London

Jun 16 - Jul 6, 2024

Extended Deadline

Request Information

Jul 7 - 27, 2024

Spark your literary inspiration in London, home to countless authors and stories that have shaped the world. 

Take a captivating trip through London, turning it into a central character in your writing. Through expert-led workshops, develop the tools and techniques needed to write in different genres. Take cues from renowned works of prose, poetry, and drama and analyze how these forms are reimagined in contemporary mediums—films, web-based media, and graphic fiction. As you refine your literary taste, you'll craft your own creative writing portfolio! 

Connect with writers and storytellers. Roam the real sites that served as backdrops for the works of Shakespeare, Wordsworth, Woolf, and more. Examine the contrasting facets of London, exploring both its Gothic shadows and its aspirational allure that has enticed migrants from across the globe to call it home.

Discover the places and people that make London buzz with creativity. Meet local teens and indulge in local flavors, like fish and chips. Experience life outside of London, too, on an excursion to Shakespeare's birthplace, Stratford-upon-Avon. In the end, you’ll realize your literary ideas and add your unique contributions to London’s literature.

The Take-Aways

Real-world experience.

Experience London through the eyes and pen of a writer. Try out literary techniques and structures to develop your own writing process in different genres. Come home with the skills to create original works.

Credentials for Your Future

Topics for your college essays, experience to inform your future career, and a Creative Writing Portfolio to showcase your own writing.

Life Skills and New Friendships

Return with greater self-confidence, independence, and improved communication skills. Enjoy a broader worldview and diverse friendships from across the U.S. 

Hours of Expert Instruction

Weeks Pursuing Your Passion

Life-Changing Experience

The Destination

Welcome to london, the backdrop for innumerable works of fiction. .

Walking through the streets, squares, and alleys of London, you’ll transport yourself to the literary works they’ve inspired! From Oliver Twist to Sherlock Holmes, the city’s iconic characters have resonated with audiences all over the world. Represented in fiction as both charming and menacing, London is the most multicultural city in Europe and a cradle of creativity. With a population of over 9 million, hundreds of ethnic groups mingle at every turn. It’s hard to not feel a bolt of inspiration when out for a stroll. 

Famous landmarks—like the London Eye, Tower of London, and Buckingham Palace—stand royally across the city. Cruising along the River Thames, take in the lovely views of Westminster Abbey and Big Ben. Its thriving markets, like the medieval Leadenhall Market, one of your excursions, and pleasant green areas like Kew Gardens lead you into the day-to-day life of Londoners. From its vast number of bookshops, theatres, museums, and art galleries to its innovative street artists and performers, you’ll be amazed by all there is to do! 

Cultural Awareness

CIEE wants all our students to feel welcomed, supported, and empowered to succeed while studying abroad. Local CIEE staff have provided details about conditions and cultural attitudes that students with specific identities might encounter in London.

Monday–Friday

Each day offers a balance between interactive instruction and cultural activities with time on your own, too. Morning classes and afternoon activities may swap places.  

• Breakfast at the hostel/hotel
• Hands-on classes with expert instructors and professional writers   
• Lunch with your fellow Global Navigators  
• Out and about for a cultural activity or workshop
• Dinner at the hostel/hotel or out in the community   

Weekends   

• Overnight or day excursions to top sites  
• Quality time with friends  

Hostel/hotel, shared rooms with other Global Navigators

24/7 Support

1 Program Leader for every 12 students and support from local staff

Weekly Learning Goals

Settle into your new community and begin understanding how London has inspired the works of literary masters. Start your creative writing portfolio.

Explore how classic works have been adapted for the contemporary reader. Continue working on your stories, inspired by a trip to Shakespeare's hometown.

Attend presentations on culture, society and identity and engage with British authors disrupting the London literary scene. Finalize your portfolio drawing from the literary and social themes learned and experiences lived on program.

Program Blogs

Twist Museum - 25 July 2023

“Logic will get you from A to B. Imagination will take you everywhere.”--Albert Einstein Today, the Creative Writing students made their way to the Twist Museum, London’s “playground of perceptions”... keep reading

The Cursed Child

A trip to London isn’t complete without a visit to the West End! The Creative Writing Program had the amazing opportunity to see Harry Potter and the Cursed Child, a... keep reading

Weekend Getaway - 22 July 2023

Though rainy, Bath was beautiful. Upon our arrival, we were able to drop our overnight bags off at the YMCA Bath Hostel where we stayed before getting a few hours... keep reading

Sample Activities

Just imagine all the fun you’ll have!

• Explore London and Victorian Gothic tracing the footsteps of Charles Dickens on a walking tour. 
• Hunt for location settings for your own stories visiting the British Museum, Viktor Wynd Museum of Curiosities, the Museum of London Dockland’s Windrush stories, and the Twist Museum.
• Meet for street food at the Borough Market and walk along the South Bank to the Globe Theatre.
• Explore London’s maritime history with a visit to Greenwich, arriving by river boat. Find the Prime Meridian that divides the western and eastern hemispheres at longitude 0° and visit its atmospheric market.  
• Enjoy afternoon tea in Oxford. Take overnight trips to Bath, a World Heritage site known for its Roman spa, and to Lacock, an unspoiled medieval village and film site. 

Please note activities are based on past programs and subject to change at CIEE's discretion to adapt to local circumstances and participant feedback. Our goal when arranging activities is always to enhance your experience. 

What Students Are Saying

“I met so many friends and extraordinary people that I can’t imagine life without them now. I’ve discovered new things about London and myself. It’s an experience everyone deserves.” 

Lizzie R., Global Navigator Alum

“It’s allowed me to see how big our world is. There is so much culture, so many people, and things to try. It’s a time to explore the world as it is.” 

Kayla J., Global Navigator Alum

“You make a lot of close friends, go through the thick, the thin, and the fun. Very memorable experiences are made!”  

Matthew M., Global Navigator Alum

“It was fun and I learned a lot. I’ll never forget our Oxford trip!”

Isabella R., Global Navigator Alum

Dates & Fees

Eligibility

• Participants must be 14 years old and above.
• Program open to all current high school students: Freshmen, Sophomores, Juniors, and Seniors.   
• For scholarship eligibility requirements, please check our  scholarship page .

For more information, refer to the detailed  Program Essential Eligibility Criteria .

Application Fee

Program scholarships and tuition include iNext Travel Insurance, but do not cover the cost of flights. Find additional details about  what’s included  with your tuition.    

More questions? Find  answers , get  application support , sign up for  virtual presentations  or  contact us . 

What's Included

Interactive classes, 3 meals/day.

(Dietary Needs Accommodated)

All Ground Transportation

(Once In-country)

Optional Flight Chaperone

(Flight Cost Not Included)

Pre-departure Advice and Orientation

Access to local phone and wifi, all cultural activities and excursions, comprehensive medical and travel protection, 24/7 emergency on-site support.

Mark Simmons

Center director.

Mark Simmons has an M.A. in History from the University of Aberdeen and a postgraduate degree in Administrative and Information Management from Napier University Edinburgh. 

Ready to change your life?

You might also like.

• London, England

Theatre Arts on London’s Stage

• Arts & Culture

Get a backstage pass and immerse yourself in the theatre capital of the world.

• Hostel/Hotel

© 2024 CIEE. All Rights Reserved.

• Privacy Notice
• Terms & Conditions

Please enable JavaScript in your web browser to get the best experience.

• Find a course
• Undergraduate study
• Worldwide education delivered locally
• Postgraduate study
• Research degrees
• Short courses
• MOOCs - free short courses
• Why study with us
• Where to study
• Online learning
• Study with a local teaching centre
• Study in Paris
• Study humanities in London
• Fees and funding
• Costs of your course
• Funding your study
• How to pay your fees
• How to apply
• Undergraduate applications
• Postgraduate applications
• Help with your application
• Entry routes
• Am I qualified?
• English requirements
• Computer requirements
• Recognition of prior learning
• Supplying evidence
• What happens next?
• Transferring from another institution
• Student terms and conditions
• Inclusive practice and access
• Taster courses for schools
• Current students
• Student portal
• Student blog
• Student services
• Accommodation in London
• Library services
• BLOOM @ Senate House
• Support and wellbeing
• Clubs and societies
• Getting involved
• Final certificates
• Requesting a transcript
• Careers service
• Recent graduates
• Working with alumni
• Working with academics
• Information for employers
• Examinations and assessment
• Assessment timetables
• Entry and deadlines
• Exam centres
• Exam entry and results dates
• Assessment offences
• Mitigating circumstances
• Academic regulations
• Policies and procedures
• Access and Participation Statement
• Refund and Compensation Policy
• Student Protection Plan
• Student guide
• The Student Charter
• Complaints and appeals
• Preparing to graduate
• After Graduation
• Past ceremonies
• Students of federation members
• Research challenges
• Institutes, centres & initiatives
• Institute in Paris
• Centre for Online and Distance Education
• London Research & Policy Partnership
• Institutes at School of Advanced Study
• Public engagement
• Fellowships
• Projects and experts
• Postgraduate research
• Research governance
• Our federation
• Our Chancellor
• ​​​​​​​Senior Executive Team
• Our history
• Our global reputation
• Equality, diversity and inclusion
• Our civic role
• Strategy 2020-25
• Research & public engagement
• Study with us
• School of Advanced Study
• What makes us unique
• Board of Trustees
• Collegiate Council
• Statutes and Ordinances
• Academic Regulations
• Honorary Awards
• Annual reports and financial statements
• Charitable status
• Doing business with us
• Trust Funds
• Core policies
• Academic quality assurance
• Student policies and procedures
• Our services
• Senate House Library
• Intercollegiate Halls
• The Careers Group
• Our research libraries
• Conference & event hire
• Private housing services
• Short stay accommodation
• University Merchandise
• University of London Press
• Work for us
• Contact and find us
• News & Events
• Past events
• Student blogs
• The Student Insider magazine
• Alumni & Supporters
• Alumni ambassadors
• Your alumni community
• New graduates
• Get involved
• Keep in touch
• Request a transcript
• The Convocation Project
• Ways to give
• Areas to support
• Recognising our donors
• Your impact
• Contact the Development Office

What are you looking for?

Popular courses.

• BSc Business Administration
• BSc Computer Science
• BSc Psychology
• International Foundation Programme
• MSc Computer Science
• MSc Cyber Security
• MSc Professional Accountancy

Introduction to Creative Writing

Module information>.

This course introduces students to some of the key concepts involved in creative writing, especially for those beginning to write.

• Share this page on Facebook
• Share this page on X
• Share this page on LinkedIn

Students are introduced to a writing practice in three different styles of writing (writing fiction; writing poetry and writing for the stage), and will explore how to differentiate between the approaches needed for each style. The course will help students to develop an awareness of not only of the contexts into which they write, but some of the different techniques that can be used to grow their writing.

The course further aims to develop understanding of Creative Writing in its literary contexts, using texts students may study elsewhere on their programme as examples. As such, this course ties students’ writing practice very closely to their reading practice, which they may find helpful in subsequent study in the wider field of English.

Learning outcomes

If you complete the course successfully, you should:

• understand some of the skills and techniques required when beginning to write creatively.
• understand three different kinds of writing (fiction, prose, and writing for the stage), and some of their literary contexts.
• be able to practise writing a short piece of fiction, poetry, and a piece for the stage.
• be able to develop an extended writing project in one of these three kinds of writing.
• be able to make connections between the literary texts studied on your programme and the writing you undertake.
• be able to reflect critically on your own writing practice.
• understand more fully the kind of writing you wish to undertake in the future.

Essential reading

Essential literary texts

• Samuel Beckett, Collected Shorter Plays , (London: Faber and Faber, 2006)
• Seamus Heaney, North, (London: Faber and Faber, 2001)
• Virginia Woolf, Mrs Dalloway , (1925). Numerous editions, any will suffice.

Essential critical texts

• J. Bell and P. Magrs. The Creative Writing Coursebook: Forty Authors Share Advice and Exercises for Fiction and Poetry , (London: Macmillan, 2001)
• L. Anderson and D. Neale, Writing Fiction , (London: Routledge, 2008)
• M. Strand and E. Boland, T he Making of a Poem: A Norton Anthology of Poetic Forms , (New York: Norton, 2001)
• V. Taylor, Stage Writing: A Practical Guide , (Marlborough: Crowood Press, 2002)

Related Content

BD Divinity

Geographical thought and practice, exiles and outsiders, interpreting the city: cultural constructions and their material effects.

JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.

Help Centre

• History, culture & writing
• Introductory and general creative writing courses

Creative Writing Courses Online & in London

Learn from published authors in a relaxed and safe environment!

Fancy trying your hand at creative writing? Or are you looking to take your passion for writing to the next level? Find your inspiration to write at the college where Andrea Levy, Malorie Blackman, Anna Burns, and other celebrated authors studied.

Learn the art of creative writing from published writers in a range of courses designed to support and encourage your creativity. You'll explore your own potential, discover a range of literary forms and techniques, and develop your writing skills. Our courses will help you grow your confidence and passion for writing, while motivating you to achieve your personal goals.

Workshops available both online and in-person

To help you fit your studies around your busy life, you have the freedom to either learn online in the comfort of your own home, or in a classroom setting from our Central London location. Whatever your preference, you'll be able to meet fellow learners, interact, share, and learn in a way that motivates and inspires you. For more information about our live online courses, please see our  guide to online learning .

Choosing a level that's right for you – beginner to advanced level

Whether you're completely new to creative writing, have some previous experience, or you're writing at the professional level, we have courses that can support your needs. Our goal is to provide a supportive space in which you feel empowered to experiment, express your ideas, and challenge yourself to write creatively to a level that feels right for you.

Find your voice and nurture your creativity

On our courses, you'll receive guidance on how to give and receive constructive feedback on written work, and learn how to use that feedback to improve your writing. You'll share ideas and sharpen your critical thinking skills through close analysis of peer and published work, as well as growing your vocabulary, your communication skills, and your knowledge of the mechanics of writing.

For the latest news, courses, events and competitions, stay in touch with the Department on  Facebook  and  Twitter .

• Online courses
• Classroom courses (London)
• Introductory and general creative writing courses 20 courses
• Professional development courses for writers 2 courses
• Creative writing taster courses 3 courses
• Craft focus courses for creative writers 2 courses
• Genre writing courses 4 courses
• Available courses 20 items
• No longer available 7 items
• Beginners 18 items
• Some experience 15 items
• Advanced 11 items
• Suitable for all 11 items
• Keeley Street 11 items
• Online 15 items
• Apr 2024 10 items
• May 2024 7 items
• Jun 2024 4 items
• Jul 2024 3 items
• Aug 2024 1 item
• Sep 2024 8 items
• Oct 2024 6 items
• Nov 2024 2 items
• Dec 2024 2 items
• Jan 2025 6 items
• Feb 2025 4 items
• Mon 8 items
• Tue 7 items
• Tue+Thu 1 item
• Wed 6 items
• Wed+Fri 1 item
• Thu 5 items
• Fri 4 items
• Sat 6 items
• Sun 6 items
• Weekday 13 items
• Weekend 11 items
• Daytime 15 items
• Evening 11 items
• £0.00 - £50.00 3 items
• £50.00 - £100.00 8 items
• £100.00 - £150.00 6 items
• £150.00 - £200.00 1 item
• £200.00 - £250.00 2 items
• 1 to 4 weeks 2 items
• 11 weeks or longer 4 items
• 5-10 weeks 6 items
• One-off only 11 items

Discover Art History

• What is beauty in art?
• Museum Stories
• Meet the Team: Sarah Jaffray, Art History Coordinator

Discover Writing

• Tutor accomplishments: Writing
• Student successes: Writing
• How to get published
• How to write a children’s book

Discover History

• Democracy: past(s), present(s) and future(s)
• What is history?
• Black History Month in Britain
• Political awareness vs. political understanding
• Could Donald Trump make a presidential comeback?

Discover Literature

• Reading poetry is for everyone
• Meet the Team: Sophie Oxenham, Head of Culture & Humanities

Discover Film & Cultural Studies

• City Lit Film: Cultureplex Ciné-Club
• Beyond Hollywood: An introduction to World Cinema
• Being Human: Culture and Identity now

Discover Science & Philosophy

• Reasons to love Science & Nature
• Why study philosophy?

Items 1 - 15 of 20

• You're currently reading page 1
• Page Proceed to payment

Location on this date:   Online

Location on this date:   Keeley Street

Can't see a course you want?

Add this category to your waiting list to set up alerts and we will update you when new courses are released online.

Studying Here

• Find your course
• Fees and funding
• International students
• Undergraduate prospectus
• Postgraduate prospectus
• Studying abroad
• Foundation Year
• Placement Year

Your future career

• Central London campus
• Distance learning courses
• Prospectuses and brochures
• For parents and supporters
• Schools and colleges

Sign up for more information

Student life, accommodation.

• Being a student

Chat with our students

Support and wellbeing.

• Visit Royal Holloway
• The local area
• Virtual experience

Research & Teaching

Departments and schools.

• COP28 Forum

Working with us

• The library

Our history

• Art Collections

Royal Holloway today

• Equality, Diversity and Inclusion
• Recruiting our students
• Past events
• Environmental Sustainability
• Facts and figures
• Collaborate with us
• Governance and strategy
• Online shops
• How to find us
• Financial information
• Local community
• Legal Advice Centre

In this section

Find the right course

Online undergraduate prospectus

• Student life

What our students say

Explore our virtual experience

• Research and teaching

Research institutes and centres

Our education priorities

Creative Writing

Site search

Thank you for considering an application.

Please click here to login and apply, or view your application.

Need help? Explore our How to Apply Page

Postgraduate applications

The initial application deadline for this course is 1 June 2024. Further detail here .

Key information

Duration: 1 year full time or 2 years part time

Institution code: R72

Campus: Central London

UK fees * : £10,600

International/EU fees ** : £21,700

Creative Writing (MA)

This course allows you to develop your work as a writer to a professional level, going beyond the personal to write with an engaged sense of literary culture, its social role and contemporary practices. The MA is designed for students with an established writing practice who are intending to develop their creative writing beyond first-degree level. It is also designed for those students wishing to proceed to MPhil or PhD. This MA is taught at our central London location, in the heart of literary Bloomsbury, putting you within walking distance of publishing houses, bookshops, major UK libraries and all of the other cultural attractions of central London.

You will take one of four distinct pathways:

• New Prose Narratives
• Poetic Practice

While the pathways share a similar structure, they are taught separately so as to ensure you can work to a consistently high level. Please see the Course structure section below for more details on each of these.

The MA ranks among the top creative-writing courses in the country and is taught by leading writers whose work encompasses a wide range of approaches and styles.

• Sean Borodale’s Bee Journal was shortlisted for the TS Eliot Prize and Costa Book Award.
• Lavinia Greenlaw has received a Forward Prize for Poem of the Year, the Prix du Premier Roman, a Wellcome Engagement Fellowship and the Ted Hughes Award.
• Nikita Lalwani won the Desmond Elliot Award, and was shortlisted for the Costa Prize and longlisted for the Man Booker prize.
• Redell Olsen has been Judith E. Wilson Fellow in Poetry at Cambridge.
• Anna Whitwham’s novel Boxer Handsome was a New Statesman and Guardian Book of the Year.
• Eley Williams’s Attrib. and other stories won the James Tait Black Memorial Prize and the Republic of Consciousness Prize.
• Matt Thorne has been longlisted for the Man Booker prize and is a winner of the Royal Society of Literature's Encore prize. 
• Dr James Wilkes published his first collection of poetry with Penned in the Margins and his interdisciplinary projects have included collaborations with the Wellcome Trust and BBC Radio 4. 

Our prizewinning, internationally successful alumni include the novelists Sarah Perry, Tahmima Anam, Jenni Fagan and Barney Norris; short-story writer and poet Eley Williams; and the poets Liz Berry, Kayo Chingonyi, Sam Riviere and Sophie Robinson. You can see the work of some of our recent alumni by visiting  www.bedfordsquarereview , our online showcase.

From time to time, we make changes to our courses to improve the student and learning experience. If we make a significant change to your chosen course, we’ll let you know as soon as possible.

Course structure

Core modules.

• Supplementary Discourses This weekly one-and-a-half hour seminar is taught within pathway groups and focuses on a broad range of critical texts by practising writers among others. It aims to provide you with the appropriate critical and theoretical skills for discussing your creative work. The course also aims to prepare you for you dissertation. You will acquire a range of critical concepts and vocabulary, a range of critical and theoretical approaches, and the necessary skills to undertake sophisticated reflection and discourse.
• Reading as a Writer This seminar is taught within pathway groups. Students propose texts (and non-textual works) for this syllabus, which is then devised by your tutor. You will make a short presentation on one of your chosen works during the term. The seminar encourages you to think about what it means to read as a writer, how the writer constructs the reader’s experience, and how this insight might inform your own literary composition. It considers different approaches to reading, and the relationship between practice and theory. You will learn how to demonstrate the ways in which reading contributes to your own developing practice as a writer.
• You will undertake a major extended fiction, non-fiction, poetry or poetic practice project under supervision. This will be either 15,000 words of prose, 24 pages of poetry or textual equivalent (to be agreed with the supervisor).
• The Creative Writing Project arises out of work developed in the workshop. In all cases, this should be new work not included in previous coursework submissions however much it has been revised. It can be a different part, or parts, of the same body of work, such as a novel. An important dimension of the MA is to give you the opportunity to begin serious work on a major project that would prepare you for the submission of this work to a publisher or the basis for an application for a practice-based research of a PhD as applicable to you. The Creative Writing Project is a crucial element in this preparation. It will be researched and written mainly in the summer term and during the summer vacation. You should draw on and develop the skills, and the critical and creative contexts, acquired in the first two terms. You should also seek to demonstrate independence, self-direction and originality in your approach to the project’s completion.
• Poetry does not have to have a collective theme or be a sequence, though these are acceptable.
• Poetic Practice - digital, bookworks and other formats of submission are acceptable but should be agreed in advance with the supervisor.

An important dimension of the MA is to give you the opportunity to begin serious work on a major research project that relates to your practice. This could prepare you for an application for the practice-based PhD.

The Extended Essay (Creative Writing) is a crucial element in this preparation. It will be researched and written mainly in the summer term and during the summer vacation. The principle aim of the Extended Essay (Creative Writing) is to enable you to demonstrate your ability to reflect critically and theoretically, and to locate your practice in relation to contemporary writing practices. You should draw on and develop skills acquired in the first two terms. The subject of the extended essay is to be agreed with the supervisor.

This module will describe the key principles of academic integrity, focusing on university assignments. Plagiarism, collusion and commissioning will be described as activities that undermine academic integrity, and the possible consequences of engaging in such activities will be described. Activities, with feedback, will provide you with opportunities to reflect and develop your understanding of academic integrity principles.

You will choose one of the following pathways:

You will learn how to structure and edit your prose to a publishable standard while also developing an expert sense of how best to draw on the personal, the actual and the imagination. We have no house style, and encourage both experiment and rigour. In developing your analytical and editorial skills, you will sharpen your self-criticism.

The content of the workshops will be dictated by the presentations of work in progress by the members of the group, and by the critical dialogue that develops from these presentations. Your tutor will draw up a schedule for this and work will be circulated in advance. You will read and annotate this work and come to class ready to discuss it. Reading of literary exempla and extracts will also feed into workshop discussions. Your tutor may set exercises or additional advance reading, and you will receive intensive feedback supported by individual tutorials.

This pathway is for writers of all kinds of poetry, who are focused on publication on the page. You will learn how to locate and refine your personal poetics, and how to develop a poem to its fullest potential. You will be taught how to revise and edit a poem, how to sustain a writing practice, and how to locate your poetry within a broader literary context.

The workshop welcomes all styles and approaches to poetry focused on publication on the page. The content of the workshops will be dictated by the presentations of work in progress by the members of the group, and by the critical dialogue that develops from these presentations. Your tutor will draw up a schedule for this and work will be circulated in advance. You will read and annotate this work and come to class ready to discuss it. Reading of literary exempla and extracts will also feed into workshop discussions. Your tutor may set exercises or additional advance reading, and you will receive intensive feedback supported by individual tutorials.

This pathway foregrounds the writing in an expanded field of contemporary poetic practice. It offers a consideration of contemporary trends in innovative and experimental poetry: redefinitions of lyric writing, bookworks, visual poetics, performance, sound, conceptual writing, digital poetics and site-specific work.

You will develop, and reflect on, your own practice in the context of an understanding of contemporary experimental practice in poetry from the UK and North America, and consider how contemporary poetry and poetics intersect with such fields as conceptual art writing, sound art, live art, digital poetics, book arts, installed texts and writing in relation to site.

You will explore the broad range of possibilities that literary non-fiction has to offer from memoir to manifesto, from the essay to the hybrid form. You can experiment with the interface between fiction and memoir, and discover how to write out of the self without a form in mind. You will be taught how to activate and deploy your research. You will learn how to draw on these to develop original work of your own to publishable standard.

The workshop will include an exploration of the full range of approaches that non-fiction has to offer. We will encourage you to explore them all, and to draw freely on them in your own work, taking an interdisciplinary approach. We will also teach you how to use the tools and devices of fiction and poetry in the writing of non-fiction. The workshop is also where you present work in progress, and you will receive intensive feedback supported by individual tutorials.

In the autumn term, you will have the opportunity to explore a range of literary non- fiction practices. Working with exempla, which will be read in advance and discussed in class, you will undertake writing exercises, imitation and invention. In the spring term, you will be presenting and critiquing your own creative work-in-progress while continuing to discuss other texts that cast light on the issues that arise.

Optional Modules

• All modules are core

Teaching & assessment

You will work in small groups and with extensive individual attention. We are looking for people who will flourish from working intensively within a rigorous and experimental but supportive environment.  In addition to workshops, you will take modules in Supplementary Discourses and Reading as a Writer, seminars designed to enhance your understanding of your own practice as well as the broader literary context in which you will be situating your work.

You will submit creative and critical coursework, and will undertake a final practical project and dissertation on practice.

In the summer term, you will receive individual supervision and will be offered a programme of events and masterclasses introducing you to leading writers, editors and agents who can advise on next steps. Enhancing the experience, there are regular readings and talks given by students, staff and visiting writers.

Creative coursework (Full-time students and first-year part-time students)

The first portfolio of fiction or non-fiction or poetry (5,000 words prose, 12 pp poetry or equivalent agreed with your tutor) will be submitted for feedback at the beginning of the Spring Term. This is a formative submission which means that it is not formally graded. You will receive feedback and an indicative grade. Under the guidance of your tutor, you then revise this work and resubmit it at the beginning of the Summer Term. It is then a summative submission and is formally assessed.

The second portfolio (identical requirements) will be submitted for formal assessment, along with a revised first portfolio, at the beginning of the Summer Term.

Essays (Full-time students and second-year part-time students)

The essay for Supplementary Discourses will be submitted for feedback at the beginning of the Spring Term. This submission is summative and is formally assessed.

The essay for Reading as a Writer will be submitted for summative assessment at the beginning of the of Summer Term.

Creative Writing Project and Dissertation on Practice (Full-time students and second-year part-time students)

Students receive individual supervisions in the summer term towards the completion of these two submissions, which are made in September.

Entry requirements

UK or equivalent degree in single or combined honours English.

Applicant will be required to provide a writing sample, prose of up to 5,000 words or at least 12 pages of poetry reflecting their chosen pathway: Fiction, New Prose Narratives, Poetry, Poetic Practice.  

Additionally, a sample of critical writing of up to 1,000 words showing your ability to critically engage with a text. 

International & EU requirements

English language requirements.

• IELTS: 7.0 overall. Writing 7.0. No other subscore lower than 5.5.
• Pearson Test of English: 69 overall. Writing 69. No other subscore lower than 51.
• Trinity College London Integrated Skills in English (ISE): ISE IV.
• Cambridge English: Advanced (CAE) grade C.
• TOEFL iBT: 97 overall, with Reading 18 Listening 17 Speaking 20 Writing 26.
• Duolingo: 130 overall, 135 in Literacy, 135 in Production and no sub-score below 100.

A significant number of our Creative Writing students have become published authors or found work in publishing, the media and agencies.

We have an impressive record for placing graduates in academic jobs.

This course will give you a distinctive, creative edge in careers such as publishing, teaching, writing and journalism, administration and marketing.

Fees, funding & scholarships

Home (UK) students tuition fee per year*: £10,600

EU and international students tuition fee per year**: £21,700

Other essential costs***: There are no single associated costs greater than £50 per item on this course.

How do I pay for it? Find out more about  funding options,  including loans, grants,  scholarships  and bursaries.

* and ** These tuition fees apply to students enrolled on a full-time basis. Students studying on the standard part-time course structure over two years are charged 50% of the full-time applicable fee for each study year.

All postgraduate fees are subject to inflationary increases. Please be aware that tuition fees can rise during your degree (if longer than one year’s duration). This means that the overall cost of studying the course part-time will be slightly higher than studying it full-time in one year.

** This figure is the fee for EU and international students starting a degree in the academic year 2024/25.  Find out more  

*** These estimated costs relate to studying this particular degree at Royal Holloway during the 2024/25 academic year, and are included as a guide. Costs, such as accommodation, food, books and other learning materials and printing, have not been included.

School of Humanities

Student Helpdesk

+44 (0)1784 276882

Source: Times and Sunday Times Good University Guide 2023

Source: Complete University Guide 2023

Explore Royal Holloway

Scholarships

Get help paying for your studies at Royal Holloway through a range of scholarships and bursaries.

Clubs and societies

There are lots of exciting ways to get involved at Royal Holloway. Discover new interests and enjoy existing ones.

Heading to university is exciting. Finding the right place to live will get you off to a good start.

Whether you need support with your health or practical advice on budgeting or finding part-time work, we can help.

Discover more about our 21 departments and schools.

Research Excellence Framework

Find out why Royal Holloway is in the top 25% of UK universities for research rated ‘world-leading’ or ‘internationally excellent’.

Challenge-led research themes

Royal Holloway is a research intensive university and our academics collaborate across disciplines to achieve excellence.

Discover world-class research at Royal Holloway.

Discover more about who we are today, and our vision for the future.

Royal Holloway began as two pioneering colleges for the education of women in the 19th century, and their spirit lives on today.

We’ve played a role in thousands of careers, some of them particularly remarkable.

Find about our decision-making processes and the people who lead and manage Royal Holloway today.

• Skip to primary navigation
• Skip to main content
• Skip to primary sidebar

WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Description Entry: Urban Street

January 3, 2009 by BECCA PUGLISI

cars, trucks, SUVs, bicycles, delivery trucks, pedestrians, homeless people, stray dogs, pavement, reflectors, sidewalks, cigarette butts on the ground, litter, broken glass, concrete medians, street lights, small trees with fences around them, street signs…

honking, tires screeching, alarms going off, cars speeding by or slowing down, wheels bumping over reflectors, shoes clacking/slapping against pavement, whirr of bicycle tires, voices talking/shouting/laughing, cell phones ringing, car doors slamming, store doors…

exhaust, gas fumes, rubber, hot pavement, cigarette smoke, garbage, urine, food smells from restaurants and corner vendors, sweat, incense/potpourri/fragrance from nearby shops, sewage, old water in rain puddles

foods: hot dogs/pretzels/soda/hamburgers/french fries/bottled water, smoky exhaust, bitter cigarettes, paper butts, soda straws, sweat, rain

gritty pavement, heat coming off the concrete, slap of shoes against sidewalk, sweat trickling, breeze blowing your hair/clothes, metallic fence under your fingers, wind from passing cars, uneven sidewalk, brick/stucco/concrete buildings, cold doorknobs…

Helpful hints:–The words you choose can convey atmosphere and mood.

Example 1: Snow dusted the gutters and the trash they contained with a humpy white blanket. It drifted down from the street lights–I swear, it jingled as it fell. Gone were the gasoline and greasy food smells; the air tasted clean, as if it had just been loosed upon the world.

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Simile) Music concussed from one vehicle after another like warring DJs in a night club.

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

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers —a powerhouse online library created to help writers elevate their storytelling.

Share this:

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to share on Pinterest (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to print (Opens in new window)

Reader Interactions

January 5, 2009 at 9:09 am

I liked the clean air too — wish we had more of that here; it’s cold right now, but it is as clean and crisp as it could be.

I’ve been revising and my characters are indeed rolling their eyes and sighing far too much. I may be visiting here a lot more…

Happy New Year!

January 4, 2009 at 5:25 pm

Thanks girls you are awesome.

January 4, 2009 at 3:28 pm

Thanks, Christy!

Yeah, it’s probably about an hour for me, too. the hardest ones are the places I haven’t been, or haven’t visited in a long time. Since I’m fairly sure Angela hasn’t been to the rainforest, either, that one should be a little sparse. 🙂

January 4, 2009 at 12:37 am

You never cease to amaze me! Another great list!

January 4, 2009 at 12:08 am

Becca’s probably faster than me…maybe an hour? I struggle on the similies and metaphors. Some days they come, bam, just like that, other times…I have to yank them out of the imaginative ooze.

January 3, 2009 at 11:31 pm

You really don’t waste time getting back to business. Thanks for amazing descriptions. How long does it take you to make these lists?

January 3, 2009 at 12:50 pm

Nice! I can use this TODAY in my revisions!

January 3, 2009 at 12:43 pm

Thanks, Marian! Clean air–sad to think that some day we may need a record of it to remind us what it was really like.

January 3, 2009 at 10:10 am

There are some lovely turns of phrase here. I especially like, “the air tasted clean, as if it had just been loosed upon the world.” That’s exactly what clean, crisp winter air feels like.

[…] Urban Street […]

Privacy Overview

Class 5's Blog

The Blog of Cathedral Primary School's Class 5

A Victorian Street Scene

We are learning about the Victorians this term and we are especially enjoying reading Oliver Twist and writing our very own pieces of Historical fiction.  We have been investigating how Charles Dickens helped create a picture of the world he lived in through the descriptions in his written words.  We have also identified how he created suspense and tension through imagery, detail and manipulating the speed in which the action develops. Here are some examples of our work.  We hope you like them!

An extract from Oliver Twist by Charles Dickens

“ It was nearly two hours before day-break; that time which in the autumn of the year , may be called the  dead of night; when the streets are silent & deserted; when even sounds appear to slumber, and profligacy & riot have staggered home to dream.”

An extract from “Bill searches for Nancy” by Ferdinand

“The night was a cold iceberg, melting when the moon came out and the street started to shimmer. The buildings camouflaged next to the fresh night sky. The cobbled road twinkled in the night sky like stars. That was the only source of light there. The other dim, faint lights made no effort in giving light.  The horse-carts looked like faint shadows.

The night was cool, full of breeze; the wind was fierce, pushing the trees.

Suddenly a door burst open and feet clattered. The night grew darker as Bill Sikes approached the street. His teeth gritted as he thought of how Nancy betrayed his clamped soul. Bill Sikes hands coiled up into clenched fists, his vile face crumpled into scrunched paper. Sikes raged through the street with indignation, swiftly twisted his head; left and right, hunting for the honest girl. His breath grunted out like a raging bull. Bill’s patience was losing its strength. THEN!!…”

An extract from “Bill searches for Nancy” by Rebecca

“Dimly flickering gas lamps glowed creepily, slightly lighting up the windows of the small shops. A lost top hat rolled around, sometimes half flying along the stone paving when a strong breeze picked up. You could just see the twinkling stars, millions and millions of them just hovering there as if hung up as a Christmas decoration. You could also see the moon, the source of the silvery white rays surrounded by shadows.

A rat scurried across the stone cobbles and darted under a fence. Another came padding out of an ally and sniffed at the horse manure dotted all over the road. A bang and the scratching of claws against stone showed there was a cat around and all the rats hid from view.

Suddenly a door burst open and Bill came tearing out wild with fury. He tore down the street franticly looking for Nancy. He stumbled and tripped on the cobblestone his body taut, sweating with rage. His heart was pounding against his chest, his fists clenched tight and his evil face as pale as a sheet. He smashed into a lamp post for he was blinded with tears of anger and then he swiftly turned the corner into an ally way and the terrified cat slinked out. He rushed to the crooked arms when a jagged streak of lightning crossed the sky. A torrential rain soaked Bill as he reached the crooked arms he pushed through the crowd of sleeping drunkards and there she was….”

An extract from “Bill searches for Nancy” by Michael

“Suddenly a door burst open, Bill looked like a gruesome warrior as he made his way through the narrow, hollow street. He crashed into a gas lamp but he still continued stomping away in the blackened moonlight. His grotesque big toe slowly made its way through his spoilt, filthy shoe and when teeth grinded together hell let loose and thunder and lightning poured like the rain and hail did throughout the stormy night. He clenched his fist the way a polar bear would gnaw on his daily income of fish. He stamped his feet like a horse galloping on the lumpy stone road. His cheeks were as purple as the mixture of the waste pouring out of the ancient windows.

Bill gradually stormed towards the terrace house; his blood still throbbed through his head like oil in the River Thames. He was like a grumpy Killer Whale devouring everything in its way.

And then there she was, standing still in the moonlight…”

An extract from “Bill searches for Nancy” by Renee

The lamp posts were dimly lit down the street, flickering. The roads were covered with manure and dusty dirt. The lights of the brick terraced houses went out and the town felt pitch black.

Shutters were shut, doors were locked, and the streets were empty. It was like the world was a vacant box full of air. The shouting and crying stopped just as the moon arrived. It twinkled in the sky like a shiny silver coin.

All the shops and markets closed no one would even dare to go out. The cold winter night, everywhere no one was around to neither talk nor play.

Suddenly a door burst open Bill came out as angry as ever. He stomped all the way down stairs and out into the cold, dark, cruel night off to find Nancy the betrayer. His face was red like blood; he clenched his fists as he stomped to find Nancy.

The sky was full of darting lightning bolts and grey storm clouds shooting down like needles poking you in the face. Bills breath was shown in the air; it looked like a tuft of fog. His hair was wet, his blood was boiling.”

An extract from “Bill searches for Nancy” by Gabriel

“Silence came back and forth between the cobbled streets, twisting and weaving in and out of dingy lanes and streets, trying to keep people in the force of utter enthrallment and sleep, flying up into the darkness of the atmosphere and beyond the stars.

Suddenly a shadowy figure burst out of a ramshackle cobbled streets and rushed along the cobbles, muttering unspeakable words to himself about the one who betrayed him, Nancy. He dashed in and out in a fit of rage, with his teeth and fists clenched, up the high street during that ferocious thunderstorm down all those little alleys searching for Nancy, the culprit for aiding that boy he hated so much, the little tyke, Oliver Twist. And there Nancy was, hiding in the dark depths of the shadows … “

An extract from “London at night” by Jesse

“The Victoria Regina post boxes were in the shadowy corners of the cobble stone street; the rusty street sign was hanging off one corners dimly lit by the quaint gas lamps, which were as tall as 2 men!

The slimy horse manure covered the street, burying the iron wheels of the empty out of action horse omnibus; there was the smell of manure mixed with the stench of perpetually rising mire. You could hear the drip drip drip of the cholera infested water dripping from the pump.” 

An extract from “London at night” by Archie

“The lamp lighter was trying with no effort to stay as silent as possible in the ankle deep puddles of horse manure which were waiting to be moved to the cesspit. The whisk of the wind circled the now silent church towers threatening to blow them of its stand.

The occasional flicker of the gas lamps made the street dimmer than a chamber in the tower of London.

Suddenly a door burst open and Bill Sikes ran out of the door. Without warning a thunderstorm immediately broke out. Paying no attention, with clenched fists and gritted teeth he ran on through the night.

Raging on to find his betrayer, his face purple with loathing; brushing past lamp posts, jumping over pot holes, fists clenched teeth ground together while a tiny part of his mind wanted to stop ….”

An extract from “Bill searches for Nancy” by Esther

“Suddenly a door burst open…He sprinted along the peaceful streets, his heart pounding like a tiger, rapidly, his fist were clenched!

He bashed through the hard lamp-posts, passing the oily blackness of the River Thames. His forehead had 3 lines the sign of anger. He looked with his hands above his forehead….”

An extract from “Bill searches for Nancy” by Megan

“Through the dark, dangerous streets you could hardly see the flickering gas lamps; the street was as quiet as a deserted house.

The ground was thick with mire, the lamps flickered in the moon light; the street was still and silent, there was rubbish everywhere the cobbles were as rough as a tree bark.

The streets were jet black, dirt covered the ground like an old and tattered table cloth covers a filthy table, and the sky was an indigo blue.

Suddenly the door burst open Bill Sikes came bounding out, his heart pounding in his chest. All he heard was BANG, the rain dribbling down his face.

He was bounding as fast as a horse down a deserted street. He could hardly see where he was going; the fog was so thick; his feet bleeding in his tattered and worn shoes.

He was getting closer and closer and there Nancy was………”

An extract from “Bill searches for Nancy” by Mia

“Suddenly a door burst open as Bill rushed out into the empty high street. Bill’s eyes screwed up as he clenched his fist with anger. He searched everywhere for his darling.

The thunder suddenly struck and the rain came pouring down. Bill got drenched as he sprinted though the rain. He ran down the street beside the terraced houses.”

One thought on “ A Victorian Street Scene ”

Very descriptive!

Leave a Reply Cancel reply

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

Save my name, email, and website in this browser for the next time I comment.

• Skip to main content
• Skip to primary sidebar

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

16 Top Creative Writing Workshops in London

By Katrina Kwan

Different types of writing classes in London are aplenty.

And if it’s a creative writing class you’re looking for, continue reading.

Below you’ll find 16 top creative writing workshops in London.

1. Half-Day Writing Workshops with Creative Writing Workshops London

Hosted by Diane Chandler, the winner of the 2016 People’s Book Prize for Fiction , Creative Writing Workshops London is currently offering half-day writing workshops through the months of March, May, and June of 2020. These writing workshops are available for a flat fee of £40.00, and includes provided coffee and baked goods. Based out of Chiswick, London, classes primarily take place in the morning.

These classes will help you create better characters, develop page-turning plot, help to create engaging dialogue, and assist you with writing captivating description. Each workshop takes roughly three hours and accepts up to eight people per class, so be sure to reserve your place as soon as possible. For more information or general inquiries, you can contact Diane via email .

2. Space to Write Wednesdays with Creative Writes

Creative Writes is a creative writing and poetry reading workshop that was founded by Nichola Charalambou. Based out of Muswell Hill, London, Creative Writes offers Space to Write Wednesdays , a creative writing workshop hosted between the months of April to June of 2019. Each class takes place between 7:30PM to 9:30PM.

This creative writing workshop in London is designed to help you with free flow writing, as well as to help develop your work in progress. The fee for this course is £25.00 per class, with included refreshments. For more information or general inquiries, you can contact the team at Creative Writes through their website’s online contact form .

3. Write Better Short Stories with Jane Rogers

Led by award-winning novelist and short story writer Jane Rogers, Write Better Short Stories is a creative writing course offered through London’s very own Faber Academy. This course takes place between May 2 nd , 2019 to July 18 th , 2019, and costs a flat fee of £995.00. Classes take place between 7:00PM to 9:00PM every Thursday evening. Tea and coffee will be provided!

This 12-week course will help you develop your writing skills, increase your knowledge about the short story genre, provide you with individual feedback, and will even help to take three of your stories and prepare them for submission. There are only two places left, so it’s imperative that you register for the course as soon as possible to reserve your spot. For more information or general inquiries, you can contact the team at Faber Academy either through their website’s online contact form or call 0207 927 3868.

4. Folk Tales in New Fiction with London Lit Lab

The London Lit Lab is a creative writing group that offers a wide range of writing resources and workshops for both professional and aspiring authors. They are currently offering Folk Tales in New Fiction led by Zoe Gilbert, who is a published author through Bloomsbury and a PhD candidate for Creative Writing. The course itself will look at symbolism, how to develop recognizable characters, use preexisting tales as jumping off points for your own fiction, and examine what makes successful re-imaginings.

The course takes place on May 11 th , 2019 between 10:00AM to 4:00PM and costs a flat fee of £115 for early bird registration, or £139 for regular registration. The class will take place at the Keynes Library, Birbeck School of Arts located at 43 Gordon Square, London. Class size is limited to fifteen students, so be sure to register right away . For more information or general inquiries, you can contact the team via email or visit their Facebook page .

5. How to Write A Poem with Richard Scott & Maurice Riordan

How to Write a Poem is a creative writing workshop currently offered by Faber Academy, led by poets Richard Scott and Maurice Riordan. This is a three-month poetry course designed for beginners looking to develop their poetic skills. The course takes place between April 30 th , 2019 to July 16 th , 2019 and costs a flat rate of £480.00.

All classes take place between 7:00PM to 9:00PM on Tuesday evenings and will explore topics like voice, self-portraiture and objects, drafting, line breaks, genre mixing, and more. There are only seven spot left, so it’s imperative you register right away.

6. Write & Shine with Gunnersbury Park & Museum

The Gunnersbury Park & Museum offers a program known as Write & Shine, an early morning writing workshop that offers several classes in London and online. Led by Gemma Seltzer, a talented writer who’s worked with organizations like Age UK, BBC Radio 3, Tate Modern, and the Venice Biennale, Write & Shine offers 90-minute writing workshops based out of central London.

The next session is schedule to take place on April 14 th , 2019 between 10:15AM to 12:00PM. A light breakfast will be provided for those who attend. If you’re interested in this writing workshop, you can apply for a spring membership for a flat rate of £129. For more information or general inquiries, you can contact the team at Write and Shine through their website’s online contact form .

7. Fiction Skills: Plot with Tom Bromley

Tom Bromley is currently hosting Fiction Skills: Plot through Faber Academy. He is an author, editor, and ghostwriter with a ton of experience writing both fiction and nonfiction books. The course itself takes place between June 3 rd to 30 th , 2019 and actually takes place online for the convenience of his students.

The course will go over tips and strategies on how to plot, provide a creative and supportive writing group to help you nurture your writing skills, as will provide you with the opportunity of writing a 2k word piece to be critiqued and worked on over the duration of the course. There is a flat fee of £120.00 and there are currently twenty-eight places left to register!

8. One to One MasterClass with Creative Writes

Creative Writes offers one to one masterclasses to assist you in your writing career. They offer one-hour masterclasses for a flat rate of £60.00 and two-hour masterclass for £110.00. All classes are located at their Muswell Hill location, and you can book the course based on your schedule availability. In this workshop, you will be guided through how to adapt your work structure and truly organize your thoughts to help give your writing clarity and a unique voice. You will work closely with Nichola Charalambou, the founder of Creative Writes, who will guide you through the writing process. For more information, you can call 079 4109 1313.

9. Getting Started: Beginner’s Fiction with Helen Shipman

Getting started on a brand-new project can sometimes be tricky, but with a guiding hand, you may be surprised at just how quickly your words find a blank page. Helen Shipman is a writing coach with over 30 years of experience. She is currently offering Getting Started; Beginner’s Fiction , a creative writing course offered through Faber Academy. This 8-week course takes place between June 3 rd , 2019 to July 28 th , 2019 and costs £300.00. There are currently seventeen places left, so it’s important to register as soon as possible if you’re interested.

The course will go over how to develop your creativity and discipline, point of view, character development, setting establishment, dealing with time, structure, and how to organize your writing time. This is actually an online course, which means that students can participate regardless of location!

10. Creative Writing Through Art with Gina DeCagna (Studio 73)

Studio 73 present Creative Writing Through Art , lead by writer, editor, and visual artist Gina DeCagna. The workshop will take place April 23 rd , 2019 between 7:00PM to 9:00PM at the Studio 73 Gallery in London. This workshop is intended for novice and expert writers alike, and will go over development of writing techniques in the genres of poetry, fiction, nonfiction, and more. The workshop itself costs a flat fee of £16.58 and will be located at 73 Brixton Village, London. You can register for the course here . For more information or general inquiries, you can contact the organizers via email or call 020 7274 7773.

11. Start Your Novel in Five Days with Kathryn Heyman & Mark Haddon

If you’re an aspiring author looking for guidance on how to start your very first novel, consider checking out the Star Your Novel In Five Days workshop led by authors Kathryn Heyman and Mark Haddon. This course will take place between June 17 th to June 21 st , 2019 and costs a flat rate of £550. There are only eleven spots left, so be sure to register right away. This workshop was designed to guide you step by step to help get your novel from idea to reality. This intensive course will take place at Faber Academy located at 74-77 Great Russell Street, London. For more information, you can call 207 927 3827 or email the organizers for general inquiries.

12. Film and Creative Writing Workshop with Amir Darwish & Adam Skup (Hikayetna)

In collaboration with Hikayetna and Near Neighbours, Film and Creative Writing Workshop is a free workshop lead by Amir Darwish and Adam Skup. This course is intended to help creative individuals develop their ideas through visual, oral, and written forms of art. Refreshments will be offered. The course will take place on April 6 th , 2019 between 12:00PM to 4:00PM at Noel Rd, London. For more information or general inquiries, you can contact the event organizers via email .

13. Free Your Creativity and Get Started on Your Book with Guardian Masterclasses

The Guardian is a renowned newspaper that also offers writing courses at their London location. They are currently hosting the Free Your Creativity and Gest Started On Your Book masterclass, which will take place between May 18 th , 2019 to May 19 th , 2019 from 10:00AM to 4:00PM. Led by Philippa Pride, who has been running the course since 2006, the workshop will go over how to set up a consistent writing schedule, how to practice your creativity, how to develop your narrative, create compelling plots, characters, and dialogue, and more. The course costs £499.00 plus a £7.80 registration fee. For more information, you can contact Guardian Masterclasses via email .

14. Introduction to Creative Writing (Goldsmiths, University of London)

Goldsmiths University of London offers several creative writing programs that can help you develop your skills and put you on the right track to starting your writing career. They are currently offering Introduction to Creative Writing May 1 st , 2019 between 6:30PM to 8:30PM (10-week duration), and November 9 th , 2019 between 10:00AM to 3:00PM (5-week duration). The flat fee for the course is £295. The course is led by Dr. Catherine Humble, a writer, lecturer, and journalist with experience as a creative writing teacher. For general inquiries, you can contact the organizers at Goldsmiths via email .

15. Write Here with Emma Filtness (Cultural Connections Christ Church)

Cultural Connections Christ Church is currently hosting Write Here led by author Emma Filtness. The workshop will take place on May 18 th , 2019 between 2:00PM to 4:00PM at the Clapham Library, located at 91 Clapham High Street, London. No previous writing experience is necessary.

The workshop is designed to help writers develop their short story, poetry, life writing, and flash fiction writing techniques. It is a free event, but space is limited. If you’re interested in participating, be sure to sign up as soon as possible! For more information, you can contact the Cultural Connections Christ Church via email or call 020 7498 4625.

16. How to Write Compelling Memoir with London Lit Lab

The London Lit Lab is currently offering How to Write Compelling Memoir led by novelist and creative nonfiction writer Lily Dunn. This class will take place on October 5 th , 2019 between 10:00AM to 4:00PM at the Keynes Library, Birkbeck, University of London, at 43 Gordon Square, London. Early bird registration starts at £115, and regular registration starts at a rate of £139.

This workshop will help budding memoirists in their pursuit of recounting personal experiences, discuss confidentiality and ethical issues, as well as explore the use of creativity in memoir. Space is limited to fifteen members, so be sure to register if you’re interested! For more information, you can contact the organizers via email .

Do you know of any other creative writing workshops in London, England? Please tell us about them in the comments box below!

K. Z. Kwan is a freelance writer based out of Halifax, Canada.

NEW VIDEO COURSE

Learn How to Write a Novel, Join Tom Bromley for a writing master class.

Learn How to Write a Novel

Join Tom Bromley for a writing master class and finish your first draft in 3 months.

17 Best Creative Writing Classes in London

Showing 17 courses that match your search.

One-day Travel Writing Workshop

Travel Writing Workshop

Led by Peter Carty, this one-day workshop in central London, also available online, caters to beginners and journalists alike, aiming to equip them with practical skills for travel writing. The workshop, which includes sessions from 10:00 am to 5:30 pm, covers topics like selecting travel subjects, research skills, prose improvement, and getting published, with a fee of £155 including post-workshop support​​​​​​​​.

Website: https://www.travelwritingworkshop.co.uk/about-the-travel-...

Categories: Travel

Start date:

February, 2024

Prerequisites: No prerequisites

Copywriting Masterclass

The Chartered Institue of Marketing

This interactive course unveils the art of copywriting, offering a methodical approach to idea generation, maintaining reader engagement, and enlivening your writing.

Website: https://www.cim.co.uk/training/list-courses/copywriting-m...

Categories: Copywriting

Open all year round

Getting Started: Beginners' Fiction

Faber Academy

Faber Academy offers a variety of fiction writing courses, suitable for aspiring writers, those seeking inspiration, and hobbyists ready to begin a professional writing career. These courses, available both online and in London, cater to different levels of writing experience, from total beginners to advanced learners. Participants benefit from the expertise of tutors and insights from the UK's leading independent publisher, with flexibility to accommodate other commitments.

Website: https://faberacademy.com/product/getting-started-beginner...

Categories: Book

How to Write a Novel

Your story matters. Unlock your potential with daily video lessons from bestselling ghostwriter Tom Bromley, and finish your first draft in just 3 months. Learn more →

Essential Business Writing

Walkerstone

This one-day course, priced at £425 + VAT, is ideal for anyone in a business environment looking to improve their writing skills. It covers structuring content, clear sentence construction, and key message delivery, along with elements of marketing essential for effective business communication​.

Website: https://walkerstone.com/courses/essential-business-writing/

Categories: Business

Novel Writing

City Academy

Priced at $480, this six-week advanced course is designed to refine writers' travel prose. It focuses on developing a unique voice, perspective, and an eye for timely, engaging travel narratives.

Website: https://www.city-academy.com/novel-writing-course

Categories: Book and Fiction

Prerequisites: For the first session, you must have an idea or the start of a novel.

Creative Writing

This course is designed for beginners who want to develop their writing skills in a supportive environment. It covers techniques for developing ideas, descriptive prose, understanding plot, and regular writing practice. The course is suitable for those interested in both fiction and non-fiction writing and includes practical exercises, group work, and weekly assignments​​.

Website: https://www.city-academy.com/creative-writing-beginners

Categories: Fiction, Essay, Poetry, Nonfiction, Short Story, and Book

Prerequisites: Fluency in English is essential for this course.

Professional Copywriting

Discover how to effectively communicate your business, product, or service to potential customers with this one-day course. It teaches the persuasive techniques used by professional marketing and advertising writers, applicable to both web and traditional media, to influence and convince your audience.

Website: https://www.transmedia.co.uk/course-details.php?CourseID=...

Categories: Copywriting and Freelance

Writing for Children

This course invites you to delve into the world of children's literature, analyzing successful children's books and guiding you in creating your own story. The course includes writing exercises, group discussions, and practical tasks to build confidence and foster creativity, ultimately helping you outline and develop your own unique children's story​​.

Website: https://www.city-academy.com/writing-for-children

Categories: Kids

Business Writing

This course focuses on enhancing business writing skills, covering various forms of professional writing from emails to press releases. It helps in organizing thoughts, choosing appropriate language, and creating trust through writing. The hands-on course, suitable for professionals in multiple careers, emphasizes the importance of grammar, punctuation, and avoiding jargon​​.

Website: https://www.city-academy.com/business-writing-course

Poetry Writing

Our Poetry courses invite you to explore and respond to various writing themes, delving into the myriad forms of poetry. You'll study works from professional poets, refine your voice through practical exercises focusing on tone, rhythm, meter, form, metaphor, lyricism, and descriptive imagery, all aimed at enhancing your poetic writing.

Website: https://www.city-academy.com/poetry-writing

Categories: Poetry

The Ink Academy Creative Writing Course

Ink Academy

This bespoke course offers a tailored learning experience over six months, featuring nine one-to-one sessions with a personal tutor. It includes detailed written reports, edits of up to 43,000 words, personalized advice on pitching and finding an agent, and customized writing exercises. The course is suitable for writers seeking in-depth feedback and guidance on their writing journey.

Website: https://www.inkacademy.co.uk/creative-writing-course/

Freelance and Travel Writing

The London School of Journalism

This course, spanning 15 lessons and 35 exercises over 12-15 months, is perfect for those looking to combine their love for travel with a writing career. It offers flexibility to focus on individual writing interests, including specialized tuition in travel writing, and equips students with fundamental freelance writing skills​​​​.

Website: https://www.lsj.org/courses/distance-learning/freelance-a...

Categories: Travel and Freelance

So you’re looking for creative writing classes in London

Virginia Woolf, Zadie Smith, Will Self—London is the birthplace of some of the greatest authors in the past few centuries. And that’s not even to count the way it’s transcended immortality in the literary landscape, inspiring classics from Charles Dickens’ Oliver Twist to Helen Fieldings’ Bridget Jones Diary. So what better city than London to take creative writing classes?

This directory of the best writing courses in London is meant to help you locate the right one for yourself.  We’ve included filters for price and genre so that you can quickly sort through the writing classes. And before you commit to any one writing class, consider the following questions:

• Who is the instructor?
• What is the price of the writing course?
• How far away is the writing course in London? Is there a remote alternative?
• How long could the course last?

Got any questions about finding the right writing class in London for you? Feel free to reach out to us at [email protected] . Good luck!

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

Save your shortlist

Enter your email address to save your shortlist so that you don't lose it!

By continuing, you will also receive Reedsy's weekly publishing tips and access to our free webinars.

We sent over your shortlist. Thank you for using Reedsy's Writing Courses Directory, happy publishing! 🙌

NEW REEDSY COURSE

Finish your book in three months with 93 master classes, plus:

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Writing Nestling

How To Describe A Train In Writing (12 Important Steps)

Introducing the art of describing a train in writing is akin to unveiling a portal to a world of captivating journeys, powerful locomotives, and the rhythmic heartbeat of rail travel.

Trains, with their imposing presence and iconic place in the annals of transportation, offer writers a canvas of inspiration unlike any other. In this exploration, we’ll embark on a literary adventure through the intricacies of locomotives, the allure of train cars, and the enchanting landscapes they traverse.

We’ll delve into the use of evocative language, sensory details, and metaphorical expressions, while also examining the significance of historical context and personal observations.

The goal is to transform words into a vivid tapestry that transports readers to the dynamic world of trains, where every description becomes a journey in itself, and the magic of rail travel comes alive on the page.

Table of Contents

How To Describe A Train In Writing

Describing a train in writing involves creating a vivid and detailed picture for your readers. Here’s a step-by-step process on how to do it:

Choose your perspective

Decide whether you want to describe the train from an inside or outside perspective. Are you a passenger on the train, an observer from the platform, or perhaps a combination of both?

Observe the train

Take a few moments to closely observe the train, paying attention to its various components. This includes the locomotive, carriages, wheels, windows, and any unique features that stand out.

Note the size and type

Describe the size and type of the train. Is it a sleek, modern bullet train, an old-fashioned steam locomotive, or a freight train loaded with cargo? Mention the length and number of carriages.

Details of the locomotive

If visible, describe the locomotive. Mention the shape, color, and any distinctive markings. Note whether it’s pulling the train or pushing from behind.

Carriage description

Describe the carriages. Are they passenger cars, freight cars, or a combination? Mention the colors, any graffiti or artwork, and any noticeable wear and tear.

Windows and doors

Discuss the train’s windows and doors. Are they large and panoramic, or small and functional? Mention any people or scenes you can see through the windows.

Wheels and undercarriage

Comment on the wheels and undercarriage of the train. Describe the size, the sound they make as they roll along the tracks, and any movement or vibration you feel.

Sounds and atmosphere

Explain the atmosphere around the train. Mention the sounds of the engine, the clattering of wheels on the tracks, and the hiss of brakes. Are there any scents associated with the train, such as diesel fuel or hot metal?

Passengers or cargo

If applicable, describe the passengers or cargo on board. Are there diverse groups of people, or is it primarily a freight train carrying goods? Provide details about their activities, expressions, and interactions.

Surroundings

Describe the environment in which the train is situated. Are you in a bustling station, a serene countryside, or an urban landscape? Mention any relevant details about the surroundings.

Emotions and atmosphere

Convey the emotions and atmosphere surrounding the train. Is there a sense of anticipation, adventure, or nostalgia? Use descriptive language to capture the mood.

Summarize the key elements and feelings you’ve described. Leave the reader with a lasting impression or a thought related to the train.

Remember to use vivid and evocative language to bring the train to life in your reader’s imagination. Incorporate sensory details like sights, sounds, and smells to make your description more engaging and memorable.

Understanding the Elements of a Train

The inner workings of a train are like the intricate gears of a well-kept secret. Beneath the majestic exterior, a locomotive is a mechanical symphony, each piston stroke echoing a century of innovation.

The cars that trail behind aren’t mere carriages; they’re time capsules, cradling stories of commuters, cargos, and cross-country odysseys.

To truly understand the elements of a train is to unlock the door to a world where steel behemoths dance on steel tracks, their engines pulsating with power and history.

It’s an invitation to peer into the heart of a juggernaut and be captivated by the soul of transportation itself.

The locomotive, often considered the beating heart of a train, is a marvel of engineering and raw power.

It is a symphony of mechanics, with massive wheels, towering smokestacks, and a relentless determination to conquer the rails.

Whether it’s a mighty steam engine, a sleek electric locomotive, or a robust diesel workhorse, each type tells a unique story of technological evolution.

The locomotive’s thunderous roars and rhythmic chugging are not just sounds; they are the very pulse of progress, propelling passengers and goods across vast landscapes.

With its imposing presence and timeless significance, the locomotive embodies both the romance and the relentless momentum of rail travel, forever etching its place in the annals of transportation history.

Exterior Features

The exterior features of a train are a visual spectacle that captures the essence of both function and aesthetics. The train’s formidable shape, often a study in sleek aerodynamics or rugged practicality, stands as a testament to engineering prowess.

The colors and livery adorning the train’s surface, whether adorned in striking steel-gray, vibrant corporate logos, or nostalgic heritage liveries, tell stories of identity and purpose.

The intricate details such as rivets, windows, and the prominent nose of the locomotive are like the train’s signature, offering a signature style that varies from one model to another.

The exterior of a train is not just a shell; it is the first impression, a bold introduction to the grand journey that awaits, and a canvas that reflects both the era and the spirit of the rail adventure.

Interior Features

The interior features of a train hold a world of comfort, style, and functionality, hidden behind the formidable facade.

Passengers step into a cocoon of well-designed spaces that transform mere travel into a memorable experience.

Seating arrangements, whether in spacious cabins with plush seats or classic cars with rows of bench seats, cater to different tastes and needs.

The decor, from the classic elegance of vintage cars to the modern minimalism of high-speed trains, speaks volumes about the train’s character.

The ambiance, set by soft lighting, soothing colors, and often panoramic windows, ushers passengers into a tranquil realm as the scenery unfolds outside.

The interior is a sanctuary of travel, where passengers can relax, socialize, or work, all while being serenaded by the rhythmic symphony of the tracks beneath, making the journey as much a destination as the arrival itself.

Research and Preparation

Research and preparation are the compass and map of every writer’s journey, guiding us through uncharted territories of knowledge and creativity.

They are the whispered secrets of experts, the whispered tales of history, and the whispered dreams of the imagination.

In the realm of writing, they transform mere words into worlds, characters into vivid personalities, and plots into gripping odysseys.

It’s a meticulous excavation of information, a curious exploration of diverse perspectives, and a passionate embrace of understanding.

Just as a ship requires a star to steer by, writers rely on research and preparation to navigate the vast seas of storytelling, allowing them to embark on adventures that can transport readers to any corner of the universe, be it real or imagined.

Historical context

Historical context is the backdrop against which stories unfold, the silent but influential character in every narrative. It is the master key to unlocking the significance of events, the motivations of characters, and the essence of any era.

Just as a photograph’s meaning deepens with the knowledge of when and where it was taken, a story gains depth and resonance when placed within its historical framework.

It transports readers to the heart of a different time, immersing them in the customs, challenges, and triumphs of the past.

Whether it’s a tale of bygone empires, a revolutionary period, or the quiet moments of everyday life, historical context is the luminous thread that connects the present to the past, allowing us to peer into the windows of history and learn from its wisdom, heartache, and grandeur.

Era and setting of the train

The era and setting of a train are the twin pillars upon which the journey of a locomotive unfolds. They determine not only the physical landscape but also the very spirit of the experience.

Whether it’s the age of steam locomotives chugging through the picturesque countryside of the 19th century, the modern bullet trains racing through futuristic cityscapes, or the nostalgic charm of a heritage railway winding through a historic town, the era and setting lend a distinctive flavor to the adventure.

The scenery outside the window changes, but so do the attitudes, expectations, and aspirations of those on board.

These elements are not mere stage decorations but are dynamic partners, shaping the narrative and imbuing it with a unique sense of time and place.

The era and setting of a train transport readers to different worlds, offering a glimpse into history, culture, and the ever-evolving human spirit.

Observation

Observation is the writer’s closest confidant, the gateway to a world of detail and nuance that others might overlook.

It’s the art of keenly perceiving the ordinary and transforming it into the extraordinary. To observe is to engage all the senses, from sight to sound, touch to taste, and even the intangible feeling of a moment.

It’s the way a train conductor’s cap sits at a particular angle, the scent of the locomotive’s coal or diesel, the sensation of vibrations underfoot, and the symphony of whistles and clanking wheels.

Writers who observe well capture the essence of reality and infuse it into their stories, inviting readers to see, hear, feel, and ultimately, to deeply connect with the worlds they create.

Observation is the lens through which the writer brings the tangible and the intangible to life, illuminating the beauty and wonder that exists in the most ordinary of moments.

Personal experience

Personal experience is the storyteller’s most intimate treasure, a reservoir of emotions, insights, and authenticity. It’s the heart of narrative, the force that breathes life into characters, scenes, and events.

Drawing from one’s own encounters, whether mundane or extraordinary, adds a layer of genuine resonance to writing.

These experiences, like vibrant brushstrokes on a canvas, infuse the narrative with vivid colors and genuine emotions, allowing readers to connect on a profound level.

It’s the joy, sorrow, adventure, and vulnerability that the writer has personally felt, translating into words that resonate with universal truths.

Whether it’s a small detail like the taste of a childhood treat or a life-changing moment, personal experiences enrich storytelling, making it relatable, compelling, and, ultimately, unforgettable.

Utilizing Descriptive Language

Descriptive language is the artist’s palette of words, the alchemy of transforming mere text into a vivid, living canvas.

It’s like a symphony of imagery that dances in the reader’s mind, painting worlds, characters, and emotions with the brushstrokes of words.

It’s the way a single sentence can conjure the fragrance of a long-lost summer or make the reader feel the chill of a moonlit winter’s night.

Descriptive language is the enchanted doorway to boundless imagination, where metaphors and similes become the keys to unlocking hidden treasures of meaning.

It’s the language of dreamers and explorers, a portal to realms unknown, a vivid tapestry that turns words into windows through which readers can peer into the depths of the human experience.

Creating a Scene

Creating a scene is the author’s sorcery, a conjuration of worlds from mere ink and paper. It’s the architect’s blueprint for a journey through time and space, where the reader is the honored traveler.

Each word is a brick, every sentence a doorway, and together they construct the theater of imagination. The scene is a symphony of sensory experiences, an intricate web of sights, sounds, and emotions that can transport you to any realm, be it the bustling bazaar of Marrakech or the desolate expanse of an alien planet.

In the hands of a skilled wordsmith, a scene isn’t just a backdrop; it’s a magic carpet that whisks you away to adventure, emotion, and discovery.

It’s a portal to a realm that exists only in the mind, a place where the author and reader meet, and together, they explore the boundless landscapes of the human psyche.

Setting the Stage

Setting the stage is the writer’s invitation to step into a world of their creation, a theatrical overture to the story about to unfold. It’s the atmosphere, the ambiance, and the sensory palette that infuses life into the narrative.

The stage can be a cobblestone street in 19th-century London, an alien planet’s desolate wasteland, or a bustling cyberpunk cityscape, each with its own unique allure.

Through meticulously chosen details, the writer crafts a portal into an alternate reality, setting the reader on a sensory journey.

It’s not just the backdrop; it’s a character in itself, influencing the mood, the characters’ choices, and the emotions that will unfold.

Setting the stage is an artful act of immersion, and in that carefully constructed world, the reader becomes an integral player, each detail enticing them to journey further into the story’s enchanting tapestry.

Incorporating Surroundings

Incorporating surroundings is the writer’s method of breathing life into the narrative, painting the world with a brush dipped in the vivid hues of context and atmosphere.

The surroundings are more than just background; they are the soul of the setting, characters, and events. Whether it’s the sun-kissed meadows of a countryside idyll or the dimly lit, mysterious alleyways of a noir thriller, the surroundings set the mood, evoke emotions, and influence the narrative’s trajectory.

They are the intricate details – the whispering leaves in a forest, the distant hum of a bustling marketplace, or the ominous shadows lurking in a deserted mansion – that draw the reader into the story’s immersive embrace.

By incorporating surroundings, writers invite readers to not merely observe but to experience, to wander through the textured tapestry of the narrative’s world, adding layers of depth and authenticity to the story.

Interaction with Characters

Interaction with characters is the heartbeat of storytelling, the dynamic exchange that brings the narrative’s inhabitants to life.

It’s the way characters converse, collide, or collaborate, revealing their innermost thoughts, dreams, and conflicts.

These interactions sculpt the relationships that drive the plot, from the tender love between star-crossed lovers to the bitter clashes of adversaries locked in a battle of wills.

Through dialogue, actions, and reactions, characters breathe with authenticity, and readers become intimate observers of their personal journeys and growth.

It’s the subtle nuances, the sparks of conflict, and the warmth of camaraderie that make characters relatable and memorable, and it is within these interactions that the pulse of the story beats, creating the emotional resonance that leaves a lasting imprint on the reader’s heart and mind.

Structuring the Description

Structuring the description is akin to the delicate architecture of a suspension bridge, where each word and phrase is a carefully placed cable, holding the reader’s imagination aloft.

It’s a blueprint for the mind, a strategic arrangement that takes readers by the hand and leads them on an immersive journey.

Like a skilled conductor leading a symphony, structuring description means orchestrating the crescendos and pauses, the ebbs and flows, creating a narrative rhythm that is both mesmerizing and captivating.

With an opening that’s a siren’s call, paragraphs that dance in harmony, and transitions that are seamless, the writer forges a path into the reader’s heart.

It’s a blend of art and science, a mosaic of details and context that turns the story into a vivid, living tapestry where readers can walk, breathe, and experience the narrative’s essence, leaving them forever enchanted by the power of a well-structured description.

Tips for Capturing the Train’s Essence

Capturing the train’s essence is like catching a fleeting whisper of history and adventure in a bottle. It’s about summoning the spirit of steel behemoths hurtling through time and space and weaving it into words.

To encapsulate the train’s soul, one must become an alchemist, mixing the heady aroma of locomotive steam, the rhythm of wheels on the tracks, and the echo of travelers’ stories into a literary elixir.

But remember, it’s not just about the clangor of machinery or the thrill of speed; it’s the subtle symphony of emotions, the nostalgia of long journeys, and the promise of new horizons that you must distill into your prose.

Tips for capturing the train’s essence are akin to following a treasure map to the heart of transportation, where each tip is a clue that unlocks the secrets of this timeless and magnificent journey.

So, breathe in the metallic tang of adventure, close your eyes, and let the tips be your guide on this wondrous literary expedition into the essence of the train.

Focusing on the unique

Focusing on the unique is the writer’s compass to uncharted storytelling territory, an expedition into the unexplored corners of imagination.

It’s about eschewing the trodden paths and seeking out the hidden gems that make a story exceptional. Whether it’s an eccentric character with peculiar quirks or a plot twist that defies convention, the unique elements infuse a narrative with freshness and intrigue.

These are the precious details that set a story apart, that make it a standout among a sea of tales. In literature, as in life, it’s the singular, the extraordinary, and the unrepeatable that captures our attention and leaves an indelible mark.

When a writer focuses on the unique, they beckon readers to a world of wonder, where the extraordinary becomes the ordinary, and the ordinary transforms into the extraordinary, making storytelling an exhilarating journey of discovery.

Engaging the Reader’s Emotions

Engaging the reader’s emotions is the storyteller’s alchemy, the art of weaving invisible threads between words and the human heart.

It’s the power to make readers laugh, cry, tremble with anticipation, or swell with empathy, all within the confines of a few pages.

Whether it’s a character’s triumph over adversity, a heartbreaking loss, or a moment of sheer joy, the writer holds the key to unlocking the reader’s deepest feelings.

The emotional journey in a story is a rollercoaster, each twist and turn orchestrated to elicit powerful responses. By igniting emotions, writers create a bridge between the imaginary realm and the reader’s own experiences, forging a connection that transcends the written word.

It’s in these emotional connections that stories take root in the reader’s soul, leaving an enduring impact, reminding us of the extraordinary power that words possess to touch, move, and inspire.

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

What’s the importance of describing a train in writing.

Describing a train in writing can help set the scene, create atmosphere, and engage the reader’s imagination. It’s essential for creating a vivid and immersive narrative or description.

What are some tips for making a train description more captivating?

To make a train description captivating, focus on sensory details, use vivid and descriptive language, and consider the perspective from which you’re describing the train.

Should I describe the inside or outside of the train in my writing?

The choice between describing the inside or outside of the train depends on your narrative’s context. You can do both or select the perspective that best serves your story or description.

What are some key elements to include when describing the exterior of a train?

Include details about the type of train, its size, locomotive, carriages, wheels, and any unique features. Mention its location and surroundings as well.

How can I describe the interior of a train effectively?

When describing the interior, focus on elements such as the design of the passenger or freight cars, windows, doors, passengers, and the ambiance. Capture any sensory experiences and emotions.

What’s the best way to convey the sounds associated with a train?

Use onomatopoeic words and descriptive language to convey the sounds, such as the engine’s roar, wheels clattering on the tracks, and the hiss of brakes.

How can I evoke the emotions associated with a train in my description?

To convey emotions, pay attention to the atmosphere around the train, the behavior of passengers or crew, and the surrounding environment. Use descriptive language to capture the mood and feelings.

Should I include historical or technical details about the train in my description?

It depends on your target audience and the purpose of your writing. Technical or historical details can add depth and context, but be mindful not to overwhelm the reader with excessive information.

How do I conclude a train description effectively?

Conclude by summarizing the main points and leaving the reader with a thought, feeling, or image related to the train. Create a sense of closure and completeness.

Can you provide examples of well-described trains in literature?

Some classic examples include the iconic Hogwarts Express from the Harry Potter series, the Orient Express in Agatha Christie’s novels, and the hauntingly described trains in Haruki Murakami’s works. Studying these can offer insights into effective train descriptions in literature.

Remember that the key to a compelling train description is creativity and the ability to transport the reader into the world you’re describing. Tailor your description to fit the context and purpose of your writing .

In conclusion, the art of describing a train in writing is an enchanting journey through words and worlds. Trains are not just vehicles; they are vessels of history, culture, and human connection.

Mastering the craft of vivid descriptions in train narratives allows us to capture the essence of these magnificent machines, the ambiance of their surroundings, and the emotional resonance they evoke.

Through the use of evocative language, meticulous research, and a keen eye for detail, writers can transform a simple train ride into an unforgettable literary experience.

As we conclude this exploration, we’re reminded that the power of storytelling lies in the ability to transport readers to places and moments they may never physically visit, and trains, with their timeless allure, offer a unique and compelling canvas for writers to create and readers to journey upon.

Related Posts:

• How To Describe A Dress In Writing (10 Best Tips)
• How To Describe A City In Writing (21 Important Steps)
• How To Describe A Portal In A Story (10 Important Tips)
• How To Describe Buildings In Writing (20 Important…
• How to Write a Historical Fiction Short Story (12 Best Tips)
• How To Write Time Travel Romance (12 Effective Tips)

Similar Posts

How To Describe Music In Writing (12 Important Steps)

Describing music in writing is an art that holds the power to transcend the auditory experience and paint vibrant, evocative landscapes with words. Just as music itself is a universal language that transcends borders and cultures, the ability to convey its beauty, emotion, and intricacies through the written word is a skill that resonates with…

How To Improve Content Writing Skills (12 Best Ways You Need To Know)

In the dynamic landscape of digital communication, mastering the art of content writing is an invaluable skill that transcends mere words on a page. Whether you’re crafting compelling blog posts, engaging social media content, or informative articles, the ability to convey ideas effectively is a powerful tool. This guide delves into the nuanced world of…

How To Describe A Wedding In A Story (10 Best Ways)

In the intricate tapestry of storytelling, few events evoke as much emotion, grandeur, and intricate detail as a wedding. Describing this pivotal moment in a narrative is a delicate art, where words become brushstrokes painting scenes of love, ceremony, and celebration. A well-crafted portrayal of a wedding can transcend the pages, immersing readers in the…

How To Describe Flashback Scenes In Writing (12 Steps You Need To Know)

Introducing readers to the art of describing flashback scenes in writing is akin to inviting them on a captivating journey through time within the pages of a story. Flashbacks, those narrative windows into a character’s past, are potent tools that, when wielded skillfully, can breathe life into a narrative, deepen character development, and illuminate the…

How To Describe Blood In Writing (10 Best Steps And Words To Describe)

In the world of storytelling, the ability to vividly describe blood is a skill that transcends mere words on a page. It is the art of painting emotions, setting the scene, and invoking visceral responses in readers. Whether it flows as a symbol of life’s vitality or stains as a portent of darkness, blood is…

How to Show Happiness in Writing (10 Best Steps)

In the realm of literature, the art of expressing happiness through the written word is a delicate dance between emotion and language. Harnessing the power of carefully chosen words, vivid imagery, and the subtle nuances of tone, writers embark on a journey to convey the often elusive yet universally sought-after state of happiness. This endeavor…