{"id":3304,"date":"2020-12-18T12:30:48","date_gmt":"2020-12-18T12:30:48","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=3304"},"modified":"2025-05-09T20:30:02","modified_gmt":"2025-05-09T19:30:02","slug":"how-to-write-descriptions-and-create-a-sense-of-place","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/how-to-write-descriptions-and-create-a-sense-of-place\/","title":{"rendered":"How To Write Descriptions And Create A Sense Of Place"},"content":{"rendered":"\n<p>Your first job as a storyteller is a simple one, and a crucial one. You have to get your passengers into your train \u2013 your readers into your story. Only then can you hope to transport them.<\/p>\n\n\n\n<p>And that crucial first step doesn\u2019t have much to do with characters or story or anything else.<\/p>\n\n\n\n<p>What matters first is this: your<a href=\"https:\/\/jerichowriters.com\/how-to-build-fantasy-world-guide\/\" target=\"_blank\" rel=\"noreferrer noopener\"> fictional world<\/a> has to seem real. It has to grip the reader as intensely as real life \u2013 more intensely, even.<\/p>\n\n\n\n<p>Writing descriptions that&nbsp;<em>seem<\/em>&nbsp;vivid, with the use of evocative language, is therefore essential. The&nbsp;buildings, cities, places, rooms, trees, weather of your fictional world have to be convincing&nbsp;<em>there<\/em>. They have to have an emphatic, solid, believable presence.<\/p>\n\n\n\n<p>A big ask, right? But it gets harder than that.<\/p>\n\n\n\n<p>Because at the same time, people don\u2019t want huge wodges of descriptive writing. They want to engage with characters and story, because that\u2019s the reason they picked up your book in the first place.<\/p>\n\n\n\n<p>So your challenge becomes convincing readers that your world is real . . . but using only the lightest of touches to achieve that goal.<\/p>\n\n\n\n<p>Not so easy, huh?<\/p>\n\n\n\r\n    <section class=\"free-signup-block  alignfull\" id=\"\" data-redirect=\"https:\/\/jerichowriters.com\/resource-downloads\/the-jericho-writers-vault\/\">\r\n        <div class=\"content-container\">\r\n            <div class=\"free-signup-block-container\">\r\n                                    <div class=\"free-signup-image-container\">\r\n                        <img decoding=\"async\" src=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2025\/05\/Writing-skills-Website-blocks.png\" alt=\"\">\r\n                                            <\/div>\r\n                                <div class=\"free-signup-text-container\">\r\n\r\n                    <div class=\"free-signup-text-wrapper\">\r\n                                                        <h2>Want to sharpen your writing skills?<\/h2>\r\n                                                    <div class=\"wysiwyg-container\"><p>Join our free community for instant access to: <\/p>\n<\/div>                                                    <div class=\"features-list\">\r\n                                                                    <div class=\"feature\">\r\n                                        <div class=\"icon-container\" style=\"background-color: #F7941D\"><i class='bx bx-laptop'><\/i><\/div>                                        <div class=\"feature-text\">\r\n                                            <div class=\"feature-description\">Digital tools like our character builder<\/div>                                        <\/div>\r\n                                    <\/div>\r\n                                                                    <div class=\"feature\">\r\n                                        <div class=\"icon-container\" style=\"background-color: #F7941D\"><i class='bx bxs-user-voice'><\/i><\/div>                                        <div class=\"feature-text\">\r\n                                            <div class=\"feature-description\">Peer-to-peer support &#038; 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Sure, a page or so into the scene, they may start to add details to it \u2013 but by that point it\u2019s too late. They\u2019ve already lost the reader. If the scene feels placeless at the start \u2013 like actors speaking in some blank, white room \u2013 you won\u2019t be able to wrestle that sense of place back later.<\/p>\n\n\n\n<p>So<em>&nbsp;start early<\/em>.<\/p>\n\n\n\n<p>That means telling the reader where they are in a paragraph (or so), close to the start of any new scene. That early paragraph needs to have enough detail that if you are creating a coffee shop, for example, it doesn\u2019t just feel like A Generic Coffee Shop. It should feel like its own thing. One you could actually walk into. Something with its own mood and colour. One vivid descriptive detail will do more work for you than three worthy but colourless sentences.<\/p>\n\n\n\n<p>And once, early in your scene, you\u2019ve created your location, don\u2019t forget about it. Just nudge a little as you proceed. So you could have your characters talking \u2013 then they\u2019re interrupted by a waitress. Then they talk (or argue, or fight, or kiss) some more, and then you drop in some other detail which reminds the reader, \u201cYep, here we still are, in this coffee shop.\u201d<\/p>\n\n\n\n<p>That\u2019s a simple technique, bit it works every time.<\/p>\n\n\n\n<p>One paragraph early on, then nudge, nudge, nudge.<\/p>\n\n\n\n<p>As the roughest of rough guides, those nudges need to happen at least once a page \u2013 so about every 300 words. If it\u2019s natural to do so more often, that\u2019s totally fine.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Be-Specific\">Be Specific<\/h2>\n\n\n\n<p>Details matter! They build a sense of place like nothing else.<\/p>\n\n\n\n<p>Gabriel Garc\u00eda M\u00e1rquez, opening&nbsp;<em>One Hundred Years of Solitude<\/em>, introduces his village like this:<\/p>\n\n\n\n<p><em>Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs.<\/em><\/p>\n\n\n\n<p>Boom! We\u2019re there.<\/p>\n\n\n\n<p>In his world. In his village. Already excited to see what lies ahead.<\/p>\n\n\n\n<p>And yes, he\u2019s started early (Chapter 1, Page 1, Line 1). But it\u2019s more than that, isn\u2019t it? He could have written something like this:<\/p>\n\n\n\n<p><em>Macondo was a village of about twenty houses, built on a riverbank.<\/em><\/p>\n\n\n\n<p>I hope it\u2019s obvious that that sentence hardly transports us anywhere. It\u2019s too bland. Too unfocused. Too generic. There are literally thousands of villages in the world which would fit that description.<\/p>\n\n\n\n<p>In short, what makes Marquez\u2019s description so vivid is its use of telling detail. They\u2019re not just houses, they\u2019re&nbsp;<em>adobe<\/em>&nbsp;houses. The river doesn\u2019t just flow over stones, its flows over&nbsp;<em>polished stones<\/em>&nbsp;that are&nbsp;<em>white and enormous, like<\/em>&nbsp;(wow!)&nbsp;<em>prehistoric eggs<\/em>.<\/p>\n\n\n\n<p>The sentence works so well because Marquez has:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Created something totally non-generic<\/li>\n\n\n\n<li>Via the use of highly specific detail, and<\/li>\n\n\n\n<li>Uses surprising \/ exotic language to make those details blaze in our imagination.<\/li>\n<\/ol>\n\n\n\n<p>That basic template is one you can use again and again. It never stales. It lies at the heart of all good descriptive writing.<\/p>\n\n\n\n<p>So here, for example, is a more \u2018boring\u2019 space . . . but still one redolent with vividness and atmosphere thanks to the powerful use of atmospheric specificity. In Margaret Atwood\u2019s&nbsp;<em>The Handmaid\u2019s Tale<\/em>, Offred introduces her room with details that not only grab us but hint at something dark:<\/p>\n\n\n\n<p><em>A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath and in the centre of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier once. They\u2019ve removed anything you could tie a rope to.<\/em><\/p>\n\n\n\n<p>Those clipped words transport us straight to Offred\u2019s enclosed, and terrifying, space. We\u2019re also told just enough to give us an image of that place, enough to heighten tension, enough to tease curiosity. This is just a description of a room \u2013 but we already feel powerfully impelled to read on.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/11\/dialogue.jpg\" alt=\"\" class=\"wp-image-459737\" width=\"833\" height=\"600\"\/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Be-Selective-With-Your-Descriptive-Details\">Be Selective With Your Descriptive Details<\/h2>\n\n\n\n<p>Be selective \u2013 don\u2019t overwhelm.<\/p>\n\n\n\n<p>It might be tempting to share every detail with us on surroundings.<\/p>\n\n\n\n<p>Don\u2019t.<\/p>\n\n\n\n<p>Even with a setting like Hogwarts \u2013 a place readers really do want to know all the hidden details of \u2013 J.K. Rowling doesn\u2019t share how many revolving staircases it has, how many treasures in the Room of Requirement, how many trees in the Forbidden Forest. That\u2019s not the point. (And it would write off a little of Hogwarts\u2019 magic and mystery.)<\/p>\n\n\n\n<p>If you\u2019re describing a bar, don\u2019t write:<\/p>\n\n\n\n<p><em>The bar was approximately twenty-eight feet long, by perhaps half of that wide. A long mahogany bar took up about one quarter of the floor space, while eight tables each with 4 wooden chairs occupied the remaining area. There were a number of tall bar stools arranged to accommodate any drinker who didn\u2019t want to be seated at one of the tables. The ceiling height was pleasantly commodious.<\/em><\/p>\n\n\n\n<p>That\u2019s accurate, yes. It\u2019s informative, yes. But it\u2019s bland as heck.<\/p>\n\n\n\n<p>The reader doesn\u2019t want information. They want atmosphere. They want vivid language. They want mood.<\/p>\n\n\n\n<p>Here\u2019s an alternative way to describe a bar \u2013 the Korova Milk Bar in&nbsp;<em>A Clockwork Orange.&nbsp;<\/em>This description delivers a sense of intimacy and darkness in a few words:<\/p>\n\n\n\n<p><em>The mesto [place] was near empty \u2026 it looked strange, too, having been painted with all red mooing cows \u2026 I took the large moloko plus to one of the little cubies that were all round \u2026 there being like curtains to shut them off from the main mesto, and there I sat down in the plushy chair and sipped and sipped<\/em><\/p>\n\n\n\n<p>We\u2019re told what we need to know, thrown into that murky Korova atmosphere and Burgess moves the action on. All we really have in terms of detail are those mooing red cows, some cubies (curtain booths?), and a plushy chair. There\u2019s lots more author Anthony Burgess could tell us about that place. But he doesn\u2019t. He gives us the&nbsp;<em>right<\/em>&nbsp;details, not all the details.<\/p>\n\n\n\n<p>And if that\u2019s not enough for you, then try reading<a href=\"https:\/\/jerichowriters.com\/vivid-verbs\/\" target=\"_blank\" rel=\"noreferrer noopener\">&nbsp;this<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" width=\"833\" height=\"500\" src=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1.jpg\" alt=\"\" class=\"wp-image-443892\" style=\"height:450px\" srcset=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1.jpg 833w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1-600x360.jpg 600w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1-300x180.jpg 300w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1-768x461.jpg 768w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2021\/09\/forest-1-640x384.jpg 640w\" sizes=\"(max-width: 833px) 100vw, 833px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Write-For-All-The-Senses\">Write For&nbsp;<em>All<\/em>&nbsp;The Senses<\/h2>\n\n\n\n<p>You have a nose? So use it.<\/p>\n\n\n\n<p>Visuals are important, but don\u2019t neglect the other senses. Offering a full range of sensory information will enhance your descriptive writing.<\/p>\n\n\n\n<p>Herman Melville, say, describes to us the chowder for the ship\u2019s crew in&nbsp;<em>Moby Dick<\/em>: \u2018small juicy clams, scarcely bigger than hazel nuts, mixed with pounded ship biscuits and salted pork cut up into little flakes.\u2019 Such descriptions are deft, specific, and brilliantly atmospheric. Where else but on board a nineteenth century American whaler would you get such a meal? By picking out those details, Melville makes his setting feel vibrantly alive.<\/p>\n\n\n\n<p>Here\u2019s another example.<\/p>\n\n\n\n<p>Joanne Harris\u2019 opening of&nbsp;<em>Chocolat<\/em>&nbsp;plays to readers\u2019 senses, as we\u2019re immersed straightaway in the world of her book through scent, sound and sight:<\/p>\n\n\n\n<p><em>We came on the wind of the carnival. A warm wind for February, laden with the hot greasy scents of frying pancakes and sausage and powdery-sweet waffles cooked on the hotplate right there by the roadside, with the confetti sleeting down collars and cuffs and rolling in the gutters<\/em>.<\/p>\n\n\n\n<p>These non-visual references matter so much because sight alone can feel a little distant, a little empty.<\/p>\n\n\n\n<p>By forcing the reader\u2019s taste buds to image Melville\u2019s clams or Harris\u2019s pancakes \u2013 or making the reader feel that warm February wind, the confetti \u2018sleeting\u2019 down collars \u2013 it\u2019s almost as though the writers are hauling the readers\u2019 entire body into their scenes.<\/p>\n\n\n\n<p>That\u2019s good stuff: do likewise.<\/p>\n\n\n\n<p>(And one easy test: take one of your scenes and highlight anything that references a non-visual sense. If you find some good references, then great: you\u2019re doing fine. If not, your highlighter pen remains unused, you probably want to edit that scene!)<\/p>\n\n\n\n<p><br><\/p>\n\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Get-Place-And-Action-Working-Together\">Get Place And Action Working Together<\/h2>\n\n\n\n<p>That\u2019s where the magic happens!<\/p>\n\n\n\n<p>Use the atmospheric properties of a place to add to other properties of the scene. That doesn\u2019t mean you should always play things the obvious way: no need for clich\u00e9;.<\/p>\n\n\n\n<p>You can have declarations of love happen in idyllic meadows, as in&nbsp;<em>Twilight<\/em>&nbsp;by Stephenie Meyer, but why not at a bus stop in the rain? Shouted over the barriers at a train station?<\/p>\n\n\n\n<p>Your character also brings one kind of mood to the scene, and the action that unfolds will bring other sensations.<\/p>\n\n\n\n<p>Lynda La Plante\u2019s crime novel&nbsp;<em>Above Suspicion<\/em>&nbsp;makes a home setting frightening after it becomes obvious a stranger has been in protagonist DS Anna Travis\u2019 flat, and she\u2019s just been assigned to help solve her first murder case.<\/p>\n\n\n\n<p>So the place is influenced by action, once Anna notices:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Reaching for the bedside lamp, she stopped and withdrew her hand. The photograph of her father had been turned out to face the room. She touched it every night before she went to sleep. It was always facing towards her, towards the bed, not away from it. \u2026 In the darkness, what had felt safe before now felt frightening: the way the dressing-table mirror reflected the street-light through the curtains and the sight of the wardrobe door left slightly ajar.<\/p>\n<\/blockquote>\n\n\n\n<p>Here a comfy, nondescript flat becomes a frightening place, just because of what else is going on. Go for unfamiliar angles that add drama and excitement to your work. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-descriptions-as-active-characters\">Descriptions As Active Characters<\/h3>\n\n\n\n<p>You know the way that a place can turn on you? So (for example) a place that seems safe can suddenly reveal some other side, seem menacing, then almost try to harm the character.<\/p>\n\n\n\n<p>That\u2019s an incredibly powerful way to build descriptive writing into your text \u2013 because it feels mobile, alive and with a flicker of risk. You can&nbsp;use&nbsp;<a href=\"https:\/\/jerichowriters.com\/how-to-plot\/\" target=\"_blank\" rel=\"noreferrer noopener\">plotting techniques<\/a>&nbsp;to help structure the way a reader interacts with a place: starting with a sense of the status quo, then some inciting incident that shifts that early stability, and so on. The inciting incident can be tiny \u2013 discovering that a photo frame has been moved, for example.<\/p>\n\n\n\n<p>Having your characters voice their perceptions of a place in&nbsp;<a href=\"https:\/\/jerichowriters.com\/writing-dialogue\/\" target=\"_blank\" rel=\"noreferrer noopener\">dialogue<\/a>&nbsp;also adds to its dramatic impact, because now the reader sees place both through the eyes of a narrator and through the eyes of the characters themselves. Good, huh?<\/p>\n\n\n\n<p><strong>Do you need more help?<\/strong><br>Did you know we have an entire video course on How To Write? That course has had awesome client reviews, but it\u2019s kinda expensive to buy . . . so don\u2019t buy it!<\/p>\n\n\n\n<p>We\u2019ve made that course available, in full, to members of Jericho Writers. Our members don\u2019t just get that course, they also get:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>An incredible course on Getting Published<\/li>\n\n\n\n<li>A brilliant course on Self-Publishing<\/li>\n\n\n\n<li>A ton of filmed masterclasses<\/li>\n\n\n\n<li>Access to AgentMatch, the world\u2019s best literary agent search tool<\/li>\n\n\n\n<li>A brilliant and supportive writers community<\/li>\n\n\n\n<li>Chances to pitch your work in front of literary agents, live online every month<\/li>\n\n\n\n<li>And more<\/li>\n<\/ul>\n\n\n\n<p>We\u2019ve made the offer as rich as we know how to \u2013 and made it incredibly affordable too. You can find out&nbsp;<a href=\"https:\/\/jerichowriters.com\/jericho-writers\/about-us\/\" target=\"_blank\" rel=\"noreferrer noopener\">more about our club here<\/a>. Remember: we were founded by writers for writers \u2013 and we created this club for you. Do find out&nbsp;<a href=\"https:\/\/jerichowriters.com\/jericho-writers\/about-us\/\" target=\"_blank\" rel=\"noreferrer noopener\">more<\/a>&#8230; and we\u2019d absolutely love it if you chose to join us.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Use-Unfamiliar-Locations\">Use Unfamiliar Locations<\/h2>\n\n\n\n<p>And smart research ALWAYS helps.<\/p>\n\n\n\n<p>Using unfamiliar settings adds real mood and atmosphere.<\/p>\n\n\n\n<p>Stephenie Meyer, when writing&nbsp;<em>Twilight<\/em>, decided she needed a rainy place near a forest to fit key plot elements.<\/p>\n\n\n\n<p>Like protagonist Bella, she was raised in Arizona, but explained the process of setting&nbsp;<em>Twilight<\/em>&nbsp;in an unfamiliar setting on her&nbsp;<a href=\"http:\/\/stepheniemeyer.com\/the-story-of-twilight-getting-published\/\" target=\"_blank\" rel=\"noreferrer noopener\">blog<\/a>:<\/p>\n\n\n\n<p><em>For my setting, I knew I needed someplace ridiculously rainy. I turned to Google, as I do for all my research needs, and looked for the place with the most rainfall in the U.S. This turned out to be the Olympic Peninsula in Washington State. I pulled up maps of the area and studied them, looking for something small, out of the way, surrounded by forest. \u2026 In researching Forks, I discovered the La Push Reservation, home to the Quileute Tribe. The Quileute story is fascinating, and a few fictional members of the tribe quickly became intrinsic to my story.<\/em><\/p>\n\n\n\n<p>As her success has shown, it\u2019s possible to write successfully about a place you don\u2019t know, but you must make it your business to know as much as you can about it. (Or if you\u2019re writing a fantasy or sci-fi novel, plan your world down to its most intricate details.)<\/p>\n\n\n\n<p>And to be clear: you\u2019re doing the research, not because you want that research to&nbsp;<em>limit<\/em>&nbsp;you. (Oh, I can\u2019t write that, because Wikipedia tells me that the river isn\u2019t as long \/ the forest isn\u2019t as thick \/ or whatever else.)<\/p>\n\n\n\n<p>On the contrary:<\/p>\n\n\n\n<p><em>You are doing the research, because that research may inspire and stimulate a set of ideas you might not have ecountered otherwise<\/em>.<\/p>\n\n\n\n<p>The key thing is to do your research to nail specifics, especially if they are unfamiliar, foreign, exotic.<\/p>\n\n\n\n<p>Just read how Tokyo is described in Ryu Murakami\u2019s thriller&nbsp;<em>In the Miso Soup<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>It was still early in the evening when we emerged onto a street in Tsukiji, near the fish market. \u2026 Wooden bait-and-tackle shops with disintegrating roofs and broken signs stood next to shiny new convenience stores, and futuristic highrise apartment complexes rose skyward on either side of narrow, retro streets lined with wholesalers of dried fish.<\/p>\n<\/blockquote>\n\n\n\n<p>There\u2019s authenticity, grit to this description of Tokyo, as opposed to using \u2018stock\u2019 descriptions that could apply to many modern cities.<\/p>\n\n\n\n<p>Note this same thing with foods: in Japan, your protagonist could well be eating miso soup, as per Ryu Murakami.<\/p>\n\n\n\n<p>Or say if your story was set in Hong Kong, you might write in a dai pai dong (a sort of Chinese street kitchen), something very specific to that city if you\u2019re describing a street there.<\/p>\n\n\n\n<p>Alternatively, if you are setting something in the past, get your sense of place right by doing your research right, too.<\/p>\n\n\n\n<p>In historical novel&nbsp;<em>Girl with a Pearl Earring<\/em>&nbsp;by Tracy Chevalier, set in Holland in 1664, maid Griet narrates how artist Johannes Vermeer prepares her for her secret portrait, musing, to her horror, that \u2018virtuous women did not open their mouths in paintings\u2019.<\/p>\n\n\n\n<p>That last is just a tiny detail, but Griet\u2019s tears show us how mortified she is. Modern readers won\u2019t (necessarily) think about seventeenth-century connotations like this, so if you\u2019re writing a scene set in a very different era or culture to what you know, research so you\u2019re creating a true sense of place.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Use-Place-To-Create-Foreshadowing\">Use Place To Create Foreshadowing<\/h2>\n\n\n\n<p>A brilliant technique \u2013 we love it!<\/p>\n\n\n\n<p>Descriptions of place are never neutral.<\/p>\n\n\n\n<p>Good writers will, in overt or gently subtle ways, introduce a place-as-character. If that character is dangerous, for example, then simply describing a place adds a layer of foreboding, foreshadowing, to the entire book.<\/p>\n\n\n\n<p>Just read how J.R.R. Tolkien describes the Morannon in&nbsp;<em>The Two Towers<\/em>: \u2018high mounds of crushed and powdered rock, great cones of earth fire-blasted and poison-stained \u2026 like an obscene graveyard.\u2019 It\u2019s obvious from this description trouble lies ahead for Frodo Baggins and Sam Gamgee.<\/p>\n\n\n\n<p>But even if you\u2019re not writing this sort of fantasy, character psychology and plot (as we saw above) can also render seemingly harmless places suspect, too. A boring apartment in&nbsp;<em>Above Suspicion<\/em>&nbsp;becomes scary when it seems someone\u2019s been inside.<\/p>\n\n\n\n<p>These are brilliant techniques to use. We consider them in more detail with our <a href=\"https:\/\/jerichowriters.com\/creative-writing-courses\/\">writing courses<\/a>, which range from creative writing courses for newer \/ beginnner writers to much more advanced ones typically for writers in the process of completing or editing their novels.<\/p>\n\n\n\n<p>In the same sense, we thrill to the sense of a place with excitement and promise, too, like when Harry makes his first trip to Diagon Alley (in&nbsp;<em>Harry Potter and the Philosopher\u2019s Stone<\/em>) to shop for Hogwarts equipment with Hagrid.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels\u2019 eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon. \u2026 They bought Harry\u2019s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk.<\/p>\n<\/blockquote>\n\n\n\n<p>Just weave place and action together like this to create atmosphere, excitement, tension, foreboding.<\/p>\n\n\n\r\n<section class=\"promo-block  alignfull\" id=\"\">\r\n    <div class=\"content-container\">\r\n        <div class=\"promo-block-container\">\r\n                            <div class=\"promo-image-container\">\r\n                                            <a class=\"\" href=\"https:\/\/jerichowriters.com\/ultimate-novel-writing-course\/\" target=\"\">\r\n                                        <img decoding=\"async\" src=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/12\/Jericho-Writers_091022-138-2560x1706.jpg\" alt=\"\">\r\n                                                                <\/a>\r\n                                    <\/div>\r\n                        <div class=\"promo-text-container\">\r\n                <div class=\"promo-text-wrapper\">\r\n                    <h2>Want some support with finishing your story?<\/h2>                    <div class=\"wysiwyg-container\"><p>The Ultimate Novel Writing Course offers more personalised guidance than any alternative out there. In a year, we&#8217;ll take you from first draft through to readying your completed manuscript for publication. You&#8217;ll get 1-2-1 mentoring, weekly tutorials and feedback from literary agents.<\/p>\n<p>Available to writers around the world, the Ultimate Novel Writing Couse is now accepting applications for Spring 2025.<\/p>\n<\/div>                                            <div class=\"cta-container\">\r\n                            <a class=\"cta-btn has-background has-thriller-background-color\" href=\"https:\/\/jerichowriters.com\/ultimate-novel-writing-course\/\" target=\"\"><span>Apply now<\/span><\/a>\r\n                        <\/div>\r\n                                    <\/div>\r\n            <\/div>\r\n        <\/div>\r\n    <\/div>\r\n<\/section>\r\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Think-About-Your-Words\u2013Nouns-And-Adjectives\">Think About Your Words \u2013 Nouns And Adjectives<\/h2>\n\n\n\n<p>Specific is good. Unexpected is great!<\/p>\n\n\n\n<p>One final thought. When you\u2019ve written a piece, go back and check nouns.<\/p>\n\n\n\n<p>A bad description will typically use boring nouns (or things) in settings, i.e. a table, chair, window, floor, bar, stool, etc.<\/p>\n\n\n\n<p>If you try to fluff up that by throwing in adjectives (i.e. a grimy table, gleaming window, wooden floor), the chances are you\u2019ll either have (i) made the description even more boring, or (ii) made it odd.<\/p>\n\n\n\n<p>Of course, this works for that first passage we looked over from Margaret Atwood.<\/p>\n\n\n\n<p>We sense Offred counting the few things she has in the little room she calls hers, the window and chair, etc., in terse phrasing. We sense her tension, her dissociation, and we feel trapped with her.<\/p>\n\n\n\n<p>All the same, play with nouns, with taking your readers to new surroundings. Give them a Moloko. Play with surroundings, how you can make them different, how you can render the ordinary extraordinary. With the right nouns in place, you\u2019ll need fewer adjectives to jazz things up \u2013 and when you do use them, they\u2019ll feel right, not over the top.<\/p>\n\n\n\n<p>Happy writing!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Your first job as a storyteller is a simple one, and a crucial one. You have to get your passengers into your train \u2013 your readers into your story. Only then can you hope to transport them. And that crucial first step doesn\u2019t have much to do with characters or story or anything else. What<\/p>\n","protected":false},"author":2,"featured_media":447339,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16],"tags":[29047],"class_list":["post-3304","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novel-writing","tag-unwcpop1"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jericho Writers<\/title>\n<meta name=\"description\" content=\"Learn how to write great descriptions that will engage your readers with a powerful sense of place and enhance your entire novel. Stop boring your readers.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/how-to-write-descriptions-and-create-a-sense-of-place\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Write Descriptions and Create a Sense of Place | Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"Learn how to write great descriptions that will engage your readers with a powerful sense of place and enhance your entire novel. 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