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C. S. Lakin

C. S. Lakin is an editor, award-winning blogger, and author of twenty novels and the Writer’s Toolbox series of instructional books for novelists. She edits and critiques more than 200 manuscripts a year and teaches workshops and boot camps to help writers craft masterful novels.

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How to Write Vivid Descriptions to Capture Your Readers: 7 Writing Tips

Written by MasterClass

Last updated: Aug 23, 2021 • 3 min read

Writing vivid descriptions involves using specific language to help your own writing stand out and form a detailed mental picture for readers. Whether it’s for a novel, formal essay, short story, or public speaking event, it’s important to make sure your writing is memorable and interesting for your audience.

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Helping writers become bestselling authors

Keep It Fresh: 10 Ways To Show Your Character’s Emotions

June 22, 2017 by ANGELA ACKERMAN

Years ago, Becca and I grumbled about how our characters always expressed emotion the same way. My big thing? Frowning. Did my characters EVER know how to frown. They were savage at it. Becca’s characters? Smilers, all of them. SO HAPPY.

Unfortunately, our inability to express emotion in a fresh way was dragging down the quality of our writing. So, in 2012 we published The Emotion Thesaurus , hoping it would help writers get out of this boring rut when it came to expression.

That was a pretty ambitious project, but was it enough? Apparently not, because in 2019, we decided to expand The Emotion Thesaurus into a second edition , adding 55 new entries and way more instructional front matter.

Along the way, we added The Emotion Thesaurus to our massive show-don’t-tell database at One Stop for Writers, and expanded it again!

All these expansions, but is it any wonder? Conveying character emotion is so important…but not always easy to do.

Today let’s look at 10 different ways to SHOW what a character is feeling. 

Body Language 

It’s no surprise– a huge part of showing emotion is describing how the body reacts during an emotional experience . No emotion is the same – grief looks different from gratitude, excitement displays differently than dread. 

One thing we can work to improve is to not focus on describing facial expressions as much (things like eyes narrowing, lips pinching, etc.) because there are only so many things to describe when it comes to the face. The body, though…always lots of great ways to show emotion there. 

Think about gratitude – how a hand splayed across the chest, shoulders bowing momentarily before stiffening, shaky fingers reaching up to rub the lip these will all make sense for a character winning an award for something when he had a lot of help and support. When you want to come up with unique body language, put yourself in the character’s shoes and imagine the scene. Let yourself feel what they do, then set out to describe it.

Thoughts  

Thoughts are an excellent way to show emotion, as long as they adhere to the rules of POV. When swept up by emotion, our thoughts follow certain patterns. Worry has us jumping to conclusions and imagining the worst case scenario. Skepticism has us poking holes in every statement or deed as we look for proof that our intuition is right and something’s rotten in the litter box. Scorn goes further, revealing those ugly, judgey-judge thoughts we have about someone else. Flavor your character’s thoughts with emotions, and not only will a character’s voice shine, readers will also be drawn right in!

Visceral Responses  

Internal sensations, a.k.a., visceral responses, are those immediate and uncontrollable reactions we have to emotion. That tight heat of arousal at just the right touch (desire), the spike in heart rate when a streetlight suddenly goes out (fear), a rock that manifests in the gut after noticing an ambulance in the driveway (dread)…these sensations are immediate and powerful. 

Use them when you’re in the character’s POV as readers recognize these sensations and have felt them all before, bur remember less is more because while powerful, too much will send things into melodrama land.

Posture is a great way to show a character’s emotions. Are they a wall of tenseness, or more fluid, relaxed, and loose? Is their chest thrust out (confident), caved (struggling or upset), shielded by crossed arms (closed off, impatient, irritated) or do they stand with arms out (welcoming & caring)? If your character leaning in, or away? Do their feet point toward someone (engaged) or away (escape)? The body is a road map that we can use to show readers exactly what they are feeling.

Personal Space

Introvert, extrovert, or in between, all characters have a bubble of personal space that allows them to feel safe. This area may widen or narrow, depending on how the character feels. Does he let people into his space or keep them at a distance? Does he enter the space of others? We can see indicators of how he feels by his willingness to engage and be vulnerable (or not).

Dialogue is a great way to show emotion as long as it mimics the real world. People rarely state their feelings directly—they beat around the bush. They don’t say “I’m angry,” instead they rant or vent about the thing pissing them off. What a character says (and what they avoid talking about!) show their inner emotional landscape to readers and other characters.

Along with what a character says is how they say it . Are they speaking fast (nerves, rushing, impatience) or slow (careful, thoughtful, tentative)? Does their voice rise in pitch, showing they can’t quite keep a lid on what they are feeling, or go lower, revealing they are in control, or trying to rein themselves in? Do they hesitate, emphasize certain words, fumble around and go on tangents to show their discomfort about a topic, or interrupt themselves to change the direction because they are revealing too much?

Decision-Making & Actions

Okay, my psychology geekiness is showing, but one of the BEST PARTS of emotion is that it constantly messes up a character. Emotions (and their amplifiers) are great at destabilizing decision-making skills. When people act out of fear , or anxiety , defensiveness , or even out of love or desire , they do things differently than they would if they were feeling centered and rational.

Every action has a consequence, and emotion-driven actions can create conflict fallout, which is great for storytelling…and shows what emotions are pushing a character’s buttons.

Every character has empty spaces they carefully maneuver around if we look hard enough. These are danger zones where they might come face to face with an emotion they are uncomfortable experiencing, usually because it is tied to an emotional wound that leaves them jaded and questioning their on self-worth.

Voids can be used to indicate these painful emotions simply by showing things that are out of character, like them ignoring something right in front of them because it makes them feel uncomfortable, or how they steer conversations away from something that nudges painful feelings.  This void can be resistance, like showing them do something the hard way because he’s avoiding the logical choice as it’s chained in negative emotions. Imagine wanting to ask a older brother for help because he’s the expert, but refusing to because he slept with the character’s ex the day after the two separated. Because voids hint at deep emotions and complicated situations they should be treated like the proverbial “smoking gun.” In other words, if you show friction between brothers to the extent that one will go to great lengths to not seek out the other’s help, that emotional sore spot eventually must come to light so the void makes sense.

Contradictions

We’ve all said to a relative, “Of course you can stay with us this weekend!” when they ask. But sometimes, inside, we are a hodge-podge of emotion: we’re swamped at work, the house is a mess, and we have no time to host big dinners and provide the entertainment which goes with family visits. Yet we smile and nod as we speak….except our shoulders sag a little, or we swallow and hesitate before forcefully flooding our voice with enthusiasm. Basically, with contradictions, a character may try to fake it but body language doesn’t lie.

And these are just the tip of the iceberg!

There are more ways to show emotion–so many more. Anyway, the big takeaway?

Use a variety of techniques, drawing from different description wells.

If you only show emotion through body language, or dialogue, or rely too heavily on the internal thoughts of your POV character, your writing will seem one-dimensional and readers won’t have as memorable of an experience.

Stretch yourself! In each scene, think how some of these might work. Experiment. You might just see your writing jump from good…to great!

Need more help with body language and emotion?

Checklists & Tip Sheets

The Emotion Database at One Stop for Writers

Articles on character emotion

The Emotion Thesaurus Writing Guide

Don’t forget to observe the people around you. When they are feeling a specific emotion, how do they behave? What do they say and do? Bring the real world into your story for realistic emotional portrayals.

Happy writing!

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

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Reader Interactions

December 19, 2019 at 10:33 am

This is a good tip particularly to those fresh to the blogosphere. Simple but very precise information… Appreciate your sharing this one. A must read post!

November 23, 2019 at 11:56 pm

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July 13, 2018 at 1:28 am

But before you spend a dime, stop by and see if One Stop for Writers has the Features and Tools you are looking for. This deal expires at the end of July, so grab your code if interested. 🙂

Can you please tell me about the deal/code? Can’t find anything in the post. Thanks.

July 13, 2018 at 9:03 am

HI Jay, This post was written awhile ago and there was a special promotion on at the time. It looks like i removed the code, but not this one line–sorry about that.

However, there’s a 25% off coupon (for any plan) at the bottom of this post here, reviewing One Stop for Writers: https://prowritingaid.com/art/456/Writing-App-Reviews%E2%80%A6-One-Stop-For-Writers.aspx Or, in a few days I’ll be posting something new regarding a free trial on our Facebook page if you want to watch for that: https://www.facebook.com/onestopforwriters/?ref=bookmarks

February 24, 2018 at 5:24 pm

Great post. How do you describe the body language in the picture below the word posture? Not even Google is helping. I’d appreciate it if you describe the man’s body language.

February 25, 2018 at 9:30 am

There are several pictures—which one do you mean? The key is knowing which emotion the character is feeling. To describe well the author needs to know this so they can ensure that comes across.

February 25, 2018 at 11:04 am

I mean the man wearing the white jacket and a black shirt.

July 10, 2017 at 4:08 pm

This is a wonderful resource! Thanks for sharing. 🙂

July 10, 2017 at 5:53 pm

Happy it will help you! 🙂

June 22, 2017 at 6:15 pm

I bought the Emotion Thesaurus several years ago. I use it often and it shows. The binder is worn in places.

June 22, 2017 at 10:00 pm

That’s terrific–I love hearing our books are getting a workout. I hope you are getting all the help you need!

June 22, 2017 at 12:55 pm

Great post! Thanks for sharing!

[…] Keep It Fresh: 10 Ways to Show Your Character’s Emotions by Angela Ackerman […]

[…] ring true with readers. As with many other areas of writing, the best way to do this is through showing that emotion rather than telling it. But before we can write about the character’s feelings, we need to know how those feelings will […]

[…] need to know about your protagonist to get your readers to the end, and Angela Ackerman explores 10 ways to show your character’s emotions, while K. M. Weiland gives 4 reasons you should outline your […]

Excitement Adjectives: Stunning Examples for Description

Are you ready to dive into a world of thrilling emotions and heart-pounding experiences? In this article, I’ll be sharing a list of adjectives that will help you vividly describe the feeling of excitement. Whether you’re writing a captivating story, crafting an engaging blog post, or simply looking to expand your vocabulary, these adjectives will add a burst of energy to your writing.

Table of Contents

How to Describe excitement? – Different Scenarios

Now that you have a better understanding of how to describe excitement in different scenarios, go ahead and experiment with these adjectives in your own writing. Let the words flow and watch as your readers become engrossed in the exhilarating world you create. Happy writing!

Note: This section is a middle part of the ongoing article and should not contain a concluding paragraph.

Describing Words for excitement in English

Adjectives for excitement

Positive Adjectives for Excitement

Negative Adjectives for Excitement

While excitement is generally associated with positive emotions, there are times when it can have a negative connotation. Here are some adjectives that capture the darker side of excitement:

Here’s a definition list with examples:

Overwhelmed : The sheer magnitude of the event left me feeling overwhelmed with excitement.

Synonyms and Antonyms with Example Sentences

Synonyms for Excitement

When it comes to describing excitement, there are numerous adjectives that can help create a vivid picture in the reader’s mind. Here are some synonyms for excitement:

Antonyms for Excitement

While excitement is often associated with positive emotions, there are also negative adjectives that capture the darker side of this feeling. Here are some antonyms for excitement:

Remember, choosing the right adjectives to describe excitement can greatly enhance your writing and engage your readers. Try using these synonyms and antonyms in your own writing to create a dynamic and captivating experience.

On the other hand, we have also explored antonyms for excitement, such as anxious and restless, which can add depth and contrast to our writing when appropriate.

So, let’s embrace the power of words and use these adjectives to infuse our writing with the energy and excitement it deserves.

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Describing blood: adjectives with examples, adjectives for age: describing words & examples, adjectives for fight: examples and describing words.

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How Fiction Writers Can Show Emotions in Their Characters in Effective Ways

Editor Robin Patchen wraps up our examination of Fatal Flaw: # 6 Show, Don’t Tell. Writers often succumb to this fatal flaw of fiction writing, explaining and telling and summarizing instead of showing action as it’s happening. Robin gives some great tips on how writers can show by action and thoughts rather than by relying on describing bodily sensations. Be sure to pay attention to this one! (If you missed this month’s post on this fatal flaw, start with this one here .)

This month, we’ve been studying that famous axiom for fiction writers: show, don’t tell. Today, I’m going to tackle what I think is the most difficult thing to show in our novels—emotions.

If you’ve been writing for a while, no doubt you’ve heard it’s not acceptable to name emotions. Don’t tell us Mary is sad. Show us she’s sad.

Many writers lean on a clever trick to show emotions—they describe a character’s physical reactions to emotions. So characters are often crying, yelling, and slamming doors. Their stomachs are twisting, their hands are trembling, and their cheeks are burning. We hear exasperated breaths and soft sighs. Don’t even get me started on heartbeats. Some characters’ hearts are so erratic, I fear they’re going into cardiac arrest.

So What’s a Fluttering Heart to Do?

I’m poking fun, because I do it too. It’s an easy way to show emotions. But I have a few problems with this old standby. First, these things are so overused, they’ve become cliché. (I know your stomach is twisting at the very thought.) Second, having a character clenching his fists might show us he’s angry, but it doesn’t show us the impetus for that anger. Is he feeling frustrated, slighted, or jealous?

All those—and a host of other primary emotions—can lead to anger. Finally—and to me, this is the most important—showing me your characters’ physical responses provokes no emotional response from me. Your hero might clench his fists, but I promise, mine will remain perfectly relaxed. So you might have shown an emotion, but you haven’t made your reader feel anything. And that, my friends, is the point of fiction—to elicit an emotional response.

Let’s take a look at some effective and not-so-effective ways to show emotion.

Mary opened her eyes and looked at the clock. Her heart nearly leapt out of her chest. The baby had slept nearly eight hours. But little Jane never slept more than four hours at a time. Something must be wrong.

Not again. Her stomach rolled over when she remembered the last time a child of hers had slept too long.

Mary flipped the covers back and stood on weak knees, forcing herself to her feet despite the fear overwhelming her. She shoved her arms in her bathrobe, slipped into her warm slippers, and rushed for the door. Her hands were shaking so badly she could hardly turn the doorknob. Finally, she got the door open and ran down the hallway toward the nursery.

She threw open the door and lunged at the crib. She peered inside and saw the beautiful pink cheeks of her newborn daughter. She placed her trembling hand on Jane’s back, felt the even breaths, and let out a long sigh. Tears of gratitude filled her eyes as she realized her baby was alive.

Our character is definitely feeling emotions. Do you think I can get the reader to experience a few of them? I’ll give it a try.

Mary opened her eyes and squinted in the sunshine streaming in through the open window. She stretched, feeling more relaxed than she had since . . .

She sat up and looked at the clock. It was after eight. Little Jane had slept through the night. For the first time.

Just like Billy.

Mary flipped the covers back and stood. She snatched her robe from the back of the chair and slipped it on. She wouldn’t think about Billy. The doctor said it wouldn’t happen again. The odds against it were astronomical.

Billy had been nearly six weeks old. Jane was almost two months. It was different this time. It had to be.

She slipped her feet into her fuzzy slippers, ticking off all the ways the situations were different. Billy had been sick. Jane had never even had a sniffle. Billy had been fussy. Jane was nearly the perfect baby, only crying when she was hungry or wet.

She must be both hungry and wet right now, but little Jane was silent.

No, God wouldn’t do that to her again. She couldn’t bury another child. She wouldn’t.

She stepped toward her bedroom door, remembering Billy’s skin, how gray and cold it had been. At first, she’d thought maybe someone was playing a mean trick on her. But then she’d lifted him. Seen his face. Those gray lips and lifeless eyes.

Maybe it would have been different if she hadn’t been alone when she’d found his tiny body. Maybe if John had been there. But John had been gone on a business trip.

Mary turned and looked at the empty bed. Her side was a jumble of blankets. John’s side was untouched. He was on a business trip. Again.

He’d rushed home that day two years earlier, assured her it wasn’t her fault. How could she have known?

How indeed? How did a good mother sleep through her own child’s death? How did she dream of beaches and butterflies while her son passed into eternity?

If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.

She stepped into the hallway and took a first step. A good mother would run, but she could hardly force herself to walk. She inched her way down the hall.

She glanced at the stairs. What if she went to the kitchen, made some coffee? Never found out the truth?

She pushed the thought away and continued past the staircase, paused at the nursery door, and laid her hand on the cold metal doorknob. The clock ticked loudly in the hallway, like a steady heartbeat.

She stepped into the room and approached the crib. And there, sprawled on her back, lay the most beautiful sight she’d ever seen.

Jane’s eyes opened at the sound of Mary’s approach, and she smiled.

I hope you had at least a twinge of emotional reaction to that. I know I did. Please notice, there’s not a single beating heart or trembling hand in that example. Her stomach doesn’t clench, and her eyes don’t fill with tears. Yet she felt a lot of emotions. Did you?

Slow It Down

Counselors tell us that thoughts lead to emotions, and emotions lead to actions. As a writer, you can easily show your character’s thoughts and actions. Readers are smart enough to deduce the emotions based on what the characters think and do. So often it seems writers are in a hurry.

When you have a very emotional scene, slow it down. Let us hear your character’s every thought. Highlight a few details. Show the actions.

Why don’t we write like this? For one thing, it takes a lot longer. My first example is fewer than two hundred words and took me about five minutes to write. The second is closer to five hundred and took nearly half an hour.

Writers have to dig a lot deeper to write selections like the second one. I had to remember what it was like to be a new mother, put myself in the shoes of a woman who’d already buried one child, and try to feel what she would feel. Not comfortable, let me tell you.

And you see a bit into my soul, don’t you? What kind of mother would even consider going downstairs and making a pot of coffee? Yet as I put myself in that scene, I looked at the stairs, and I thought about it. Showing emotions means baring your soul.

Sure, it’s fine to have some lines showing emotions by way of bodily response. But don’t limit yourself to that technique. I hope this example helps you see ways you can elicit emotion in your reader through thoughts and actions.

But showing emotions can pull your reader in and get them to feel right along with your hero and heroine. And isn’t that the goal?

What stood out to you as you read the After example? What lines gave emotional impact?

Want to master the emotional craft of fiction?

Dive into the online course emotional mastery for fiction writers .

In this course, you’ll be given tools to  show  emotions in your characters. You’ll be given techniques to help  spark  emotional response in your readers. What is going to bring it all together for you is practice. Study and practice. And you’ll have exercises in this course to help you put into practice what you learn.

Emotional mastery requires writers to set up the dynamics of a scene in such a visual, textural way that readers can’t help but feel what they are meant to feel. Understanding that emotional mastery requires  a twofold approach — the emotional landscape of both the character and the reader —is the first step.

Want to learn how to become a masterful wielder of emotion in your fiction? Enroll in my new online video course, Emotional Mastery for Fiction Writers.

You’ll get lifetime access to all the videos and more than three dozen downloadable assignments. And with a 30-day money-back guarantee, you have NOTHING to lose by jumping in. Sign up NOW.

This course will challenge you to become an “emotion master.”  Are you ready and willing to go on this journey deep into emotional territory? If you want your characters to move your readers, take the plunge!

Listen to my discussion on how to show emotion in characters. There is so much to this topic!

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102 Comments

I found this article very helpful. It’s a delicate balancing act to slow down the action enough to heighten the emotion but not so much as to cause the reader to skip through the scene because they want to get on with it. You’ve given some good examples for doing just that. As always, another great piece of advice, C.S.!

If you think the reader might skimp over the scene. You might want to re-write it. Every scene in a story has to build up emotion and anticipation to progress head on from scene to scene.

I absolutely loved this article, and I 100% AGREE with your logic. Thank you for sharing!

One of the best posts I have read on the subject. Thank you for the great example!

Great advice, Robin!

You’ve gotten to the ultimate solution here: the truly effective approach is to describe *why* the person is feeling what he or she is, rather than the exterior symptoms.

Thanks, Curtis. I definitely think that’s a big part of it–at least one element of showing emotions. Of course we couldn’t do this with every single emotion–imagine 500 words to replace every frown. But when the emotions really matter, I think they’re worth examining.

This is one of the best articles I’ve read on this subject. You really bring it to life with your example.

Thanks! I’m glad you think so.

I’ve been often critiqued that my characters must have more emotion by showing their facial expression and bodily response to situations of distress. I can fully understand from your example how much I have dismissed all these factors by summarizing their feelings. Thanks for such a vivid example of how to convey feelings without putting a label on them.

Glad it helped. I think sometimes, we believe that the physiological reactions are the only way to show feelings, but personally, I’d much rather know what’s going on in people’s heads. Ever look at someone and think, “What is he thinking?” What’s on their face doesn’t tell us what we really want to know.

“If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.”

This line stood out to me. It puts the reader in the state-of-mind the character is in at the moment. Thanks for the article.

Kind of depressing, though, isn’t it? I’m glad it stood out.

This is a great article! You’ve really “shown” the difference very effectively 🙂

Great article! I like the contrast between showing exterior vs interior. The other trick is doing this with Deep POV.

To answer your question…I felt every bit of what the mother was experiencing. You’re an extremely talented writer. Slowing it down is so important, yet since it’s time-consuming I find myself breezing over it, too. During my second drafts I’m often horrified at the heart-fluttering, weak knees, and shaky hands in my first draft. Using subtext instead of body cues is what I’m working on now before I send my ms back to the editor. Stellar post!

My first drafts have a lot of breathing–sighing, blowing out breaths, holding breath. I think my characters might suffocate if I don’t show them breathing. 🙂 The key is to leave that stuff in draft #1.

Thanks, Sue!

nicely shown

This is very helpful. Thank you for posting this.

I do have one question though. Do you ever feel like you can overdo the inner dialogue? For example, Kurt Vonnegut once said that every sentence should either reveal character or advance the plot. How do you decide how much inner dialogue is revealing character and how much is just killing your pacing?

Is it just experience and a good ear?

Genre plays a big part in determining this! I have read suspense thrillers that are hugely internal thought, packed full of worrisome thoughts to ramp up the emotional tension. Getting in close to what a character is thinking while afraid can make the reader feel that fear. For other genres, and personal author writing styles, such as Cormac McCarthy’s, you’ll see almost no internal thoughts at all. Internal dialog can both reveal character and advance the plot, so Vonnegut’s sage words apply here as well. Best is to study other great novels in the genre in which you are writing and note (highlight?) all the lines of internal dialog and their content to see just what that amount is.

That’s great advice. Thank you!

That’s a great question, Paul. Susanne’s advice to study other great works is great.

You certainly wouldn’t want to have this much internal dialog all the way through a book. It needs to serve a purpose. In this case, we want to get the reader emotionally invested in the scene, and the best way to do that is to let us see what the character is thinking. But if the hero is deciding between a bagel or a donut, you wouldn’t want to show us his calculating the calories of each. That would get old fast.

At first, it can feel unnatural, but I think the more you write, the more intuitive it becomes.

This is a great article. I know I’m certainly guilty of getting lazy and writing scenes as I see them instead of delving into the character. I’m about to begin revision, and I can already think of places I need to expand and deepen. Thanks for the insight!

So glad it helped, Victoria. Good luck with your revisions.

This is the best example I’ve seen on this subject! I’m so glad I found it. My stories end up being like the ‘before’ and I never really liked it. It felt like something was off. You’ve really opened my eyes. I tried this on a scene I was working on and now it sounds much better! Now I must look for more tips and keep on writing.

All I can say is thank you. Shalom aleichem, Patricia

In the ‘After’ example, it was her questions that showed her doubts and her fears. That gave me the emotional response.

A good observation, Mawr. Thanks for stopping by.

I like how you demonstrate internal thoughts in third person. Many writers want to switch to first person in italics. To me this loses the continuity of the story. So right, body movements and facial expressions keep the reader on the outside of the character. Your before and after is so helpful! Thank you!

Thanks! Glad you found it helpful.

Wow. This has helped a LOT! I’ve had more compliments on one scene that I did this with, but didn’t really know concrete what I was doing. The difference was I put myself there, slowed down, and actually physically moved the way the character would, felt what she would have felt. It was amazing. Thank you so so much for sharing!!

Glad this helped you! Being aware of this can really improve the emotional impact of your scenes.

So glad it helped, Kelly.

Excellent article. Always eager to collect knowledge like this. Thank you.

This is great, but it bothers me slightly. This “slow” method of writing matches the woman’s trepidation and reluctance to learn the truth. But often emotions are felt, and acted on in an instant, and I’m rather uncomfortably aware of the fact that describing something in detail can turn a couple of seconds into a page or more.

That’s true. Sometimes it’s appropriate to slow down a moment. Sometimes, it’s not. You have to use your best judgment.

This opened my eyes to why writers have to pace a story. Just earlier, I was editing and rewriting parts of my story. It took hours, but it was worth it in the end.

I think the line that stuck out to me was, ‘How did she dream of beaches and butterflies while her son passed into eternity?’

I don’t even know how to describe why I like this line so much. I just do.

Thank you for this wonderful article. Otherwise, I wouldn’t have completely understood why pacing and emotions are so important in writing.

Thank you, Mini, for your response. I’m so glad the article worked for you. I loved that line, too. I need to find a place to use it in a book!

Great article. This is what I need to improve my writing. In your example it might go too long and it gets repetitive with the woman’s fears. If it was a tad shorter might be better. Just a thought. P

You may be right. Thanks for the feedback.

Great article. Is it say that I thought the first version was good? The second version elicited a deeper emotional experience, but I thought it told a lot. I can’t seem to find that line. The first version was active, but it did have the typical overdone descriptions. Then I read other books, and I see all sorts of contradictions from what I learn on writing sites. Sighing, knees wobbling, lips curling, eyes narrowing, jumping back, staring. I thought relying on action was great! I thought I found it….back to the drawing board.

Susanne gives good advice. I don’t have an answer. First pass, my characters do a lot of breathing–sighing, heaving, inhaled frustrated breaths. It’s as if I fear they’ll suffocate if I don’t have them breathe a couple of time son every page. 🙂

My characters’ eyes are lighting up all the time, and I have character beaming. Subject verb direct object. How do I break from this tyranny? lol

Maybe pull the plug?

the best way! im thankful to u

Excellent article — successfully writing emotion is something I struggle the most with, this is a great help.

Excellent post. I want to write with more emotion. Thanks for the great example. gramswisewords.blogspot.com

Glad it helped, Maz!

As a young writer I constantly have the “show don’t tell” philosophy thrown at me and I have read countless posts telling me that “if you’re telling the emotion even just a little bit rather than just completely showing it, you’re doing it wrong” blah blah blah, you get the picture. So to read this post has definitely changed my perspective on the delicate handling of emotion. You have demonstrated, in my opinion, a perfect balance of show and tell, so that I haven’t just been informed of the character’s feelings, their responses to traumatic events, and their life-but rather I’ve been whisked right into the character’s life to watch it all unfold. So many books I’ve read have just informed me that “oh the character is sad” as if the author is just like, hint hint wink wink-this is the part where you, the reader, should be sad too. Preferably crying over my character. Or they just say, this person is so angry they’re gritting their teeth. Like be angry at the villain because my character is angry at the villain.

But I feel nothing, because they’ve shown me how the character is feeling but they haven’t grabbed the reins of my emotions and MADE me feel for the character. If you get what I mean haha Anyways, sorry for the long comment but yeah, I just wanted to say thank you for this article-it was incredibly helpful 🙂

Glad it helps! You might like to read more about that in our 12 Fatal Flaws book. I do a whole PowerPoint workshop on this topic. I think it’s so much more effective to show what a character is thinking to evoke emotion.

I’m so glad you found the article helpful, Hannah! I know what you mean. There’s a big difference between showing an emotion and evoking an emotion. It’s much harder to do the second.

Thank you so much!! I was really struggling with the concept and I tried some other articles but this one helped the most by far. Once again, thank you so much!!

I’m so glad you found it helpful!

“How did she dream of beaches and butterflies while her son passed into eternity?” This line really got to me. I think because I would think something similar. How could I not know? How could I laugh or dream and live while someone I love is dying?

When my mother died I was at work in the stock vault. I had forgotten my phone on my desk and when I got back to it my coworkers were looking at me and saying my phone had “blown up”. They all knew my mother was sick in the hospital dying and when I got back to my desk they all knew what I did not, that she had died while I was in the vault, chatting with my colleagues. So yeah that line got to me and brought back that memory.

Perri, what a difficult memory for you that must be. I’m sorry to have brought it back. On the other hand, if the goal is to elicit an emotional response, I suppose I did manage to do that. Thank you for the note.

No, I will never refrain from telling emotions directly, and I will not read fictions which shows emotions instead of telling. Showing is necessarily ambivalent and results inevitably in incomprehensible drivel.

Interesting take on it, Klaus. Thanks for the note.

This opened my eyes in so many ways. I am deeply grateful to you for the simple solution to a complex issue in writing… Making an old emotion sound fresh as though it is felt for the first time is simply not easy. This was easy to read, and it brought feeling immediately. Thank you

So glad you found it helpful, Charlotte!

I’m sorry but the first part was the right part for me. The second was way to long and I lost interest. I feel this is the problem often. To each their own offcourse, can’t please everyone 🙂

Damn, I was thinking the same! I enjoyed the first part so much better than the emotionless descriptions about how she had to bury Billy. The stomach rollover literally gave me a melancholic feeling which didn’t happen with “God wouldn’t do the same to her”

Thank you for this article. I would like to study some of the great novels for expression of emotion. Any recommendations?

Amazing advice! This is the toughest part of creating a flesh and blood character for me. How would u apply this to first person voice?

You can just change “she” to “I” and it’s the same thing, basically. There really is no difference between first person and third person when doing deep POV.

Yes, I cried. This is the most effective article I’ve ever read on the subject of “Showing” and I recommend it to writers often. Please, never take this post down!

I didn’t mean to make you cry, J.D.! 🙂 I’m glad you found it helpful. God bless!

Still taking this article in. Have printed it off for easy reference and example. Thank you for posting this.

Stephen King does it well, by getting the protagonist to get involved deeper and deeper into an emotional state which reach a tempo unbearable.

My pleasure, Virginia. I’m glad you found it helpful.

Some good points in the way you show emotions. “Her heart nearly leapt out of her chest.” This one looks too cartoony, and nearly is an adverb [use prohibited by good writers I am told.]

The occasional adverb is acceptable, but you’re right, the line is cartoonish. That’s one of my issues with all the physiological reactions to “show” emotions–they’re exaggerated, often to the point of becoming ridiculous.

Wow, this is good writing. Hair literally stood on its ends, as I read the second rendering, even though I knew baby Jane was safe from reading the first version.

Amazing bit of writing. Thanks for the article.

But isn’t this kinda too intense for a reader? I can read the occasional paragraph like this but as a reader, I would be a nervous wreck if I had to read an entire full length novel written in this style.

Sometimes, maybe the tell is much better than show – like those ‘implied’ scenes in movies, rather than an explicit scene.

Would you recommend that a writer sticks to this POV for the entire novel or only use this occasionally? And if the latter, what kind of scenes might call for this?

Hi Badri, of course you wouldn’t have this intense a moment in every single scene in a novel. Novels should have low-energy and high-energy scenes, low- and high-action scenes, low- and high-emotional scenes. As far as POV goes, that applies to the viewpoint: whether you are in first, second, or third person. I’m not sure what you are asking, but if you mean going into deep or intimate POV, that’s a style choice and would be consistent throughout the novel.

Like CS said, not all scenes are this intense. The point is to show emotions through thoughts and actions rather than through physiological responses. So if your character is feeling happy, show the happy thoughts. If she’s feeling angry, show angry thoughts. It wouldn’t be appropriate to get this deep into every emotion, though. That could be cumbersome.

I am a very later bloomer in writing (and reading as well, I’m embarrassed to say). When I would read anything that invoked emotions as a child or young adult, I could not handle it (due to many different things going on in my life). But I am now at a different place and I am finally discovering how much I enjoy reading, well, I really mostly enjoy reading that makes me feel the emotions like your posting did.

In your first take I was thinking, oh get over it already lady…I never really liked babies anyway, we all gotta die sometime…etc… (lol, exaggerating here of course). But in your revised version, I was on tears and on the edge of my seat, thinking, that poor mother…that poor little baby…no no no…nothing can happen to that beautiful little baby…

I was shocked at the difference of my own response.

I have contemplated trying to become a writer and this posting has inspired me so much. This is now my goal – to write something that makes a reader feel this much emotion. Thank you sooooo much for sharing this.

The author of the article did a magnificent job conveying her lesson. I would offer a little insight into child loss, however. A parent never gets over losing a child. It will not happen, as a part of their heart has been torn away, outside of the natural order. Even though you may not know the experience, please do not belittle it, or those going through it. Good luck with your writing, as you walk this path with us.

I understand the concept behind it the “after”, but I have woken up before worried my baby was dead because she slept through the night… and the last thing I would have done is slip on my cozy slippers. I definitely didn’t take 10 minutes to think about if she could be dead before checking on her. So in reality — the before felt a little closer to truth to me, it was just felt a little extreme on the visceral emotions. Maybe it is just me.

Thank you for the article, even though the example didn’t resonate with me, it was an excellent example to get the point across.

I’ve been writing novels for over a decade. Finally,I understand it is the process rather than the physical manifestations of an emotion, alone, that conveys emotion to the reader! Thank you for such an intriguing insight, and thank you to my editor Beth Terrell for steering me to your blog.

Glad you arrived here! Be sure to check out my online course, too, as it goes way deep with 40+ passages examined!

So glad you found the post helpful, Jennie!

What I was able to read of the AFTER piece was wonderful. Unfortunately, the situation hits far too close to home for me, and I couldn’t finish it. You absolutely nailed it, though. The first one did not bring forth the same emotion in me the second one did. Further, the emotion built as you advanced, thus my reaction. Yes, I shed a few tears before I was able to write this reply. Thank you for this article, the insight and the advice. I will take this to heart, as I continue learning the craft.

Thanks for sharing those sentiments. I’m sorry this was/is painful for you.

I’m sorry for raising these painful memories for you. Thanks for the comment. God bless you.

Please, don’t be sorry. It is a part of life for parents who have lost a child. However, the way you wrote the piece was marvelous. That it was so powerful is a testament to the example you built. Well done. It is a wonderful lesson.

To answer the question on what stood out the most, I would say it was the last sentence. It was the baby smiling that gave me the strongest emotional response. Starting to read the text, I didn’t really “plan” to get a tear in my eye, because I find it all too easy to shield myself from the sad stuff, even though I would like to feel more directly. But fortunately, the moment of beauty and joy in the end got to me. It took me by suprise and managed to break through my shield. I will try to incorporate this in my own writing.

Fantastic article and it helps me a lot. At the point when I write, I attempt to recollect what I feared or what was terrifying to me and attempt to place those sentiments into books.

Omg! I loved this, thank you so much for sharing.

The same old story, to show emotions with your characters. SHOW don’t TELL!!!

Excellent post. It is feasible to submit no mix-ups and still lose. That isn’t a shortcoming; such is reality. This article really helps me a lot. Thanks for posting.

This was a very engaging post. It has provided me with new information and now I have a better idea of how I can represent emotion within a fictional character. Also, the example that you provided was written so well! You have given me so much inspiration and I can tell that you are a very hard worker and are dedicated to what you do. Thank you so much.

You’re very welcome!

I’m so glad, Elise, that you found the post helpful! God bless you and your writing.

I think I’m missing something. Can anyone please clarify the differences between the two examples because they both use body language to indicate emotions. If anything, the before seems better because it includes body language *and* internal reaction. The after only uses body language.

The article explains what the differences are and why using thoughts is so much more emotionally effective than showing body language. The After version uses no body language (physical tells). The thoughts are what get readers to understand and empathize with characters.

Neither the Before or After work. As for the Before, who writes like that? Must be a really rank beginner. As for the After, I spent the whole time while reading it thinking, “Not only is this ridiculously long, but no panicked mother is going to take the time to slip into her robe, put on her slippers, and have a coherent thought-stream going through her head about what happened to her other child.” No. She’s going to dash to her baby. Time for these other thoughts–or rather, an abbreviated version of them– can come as she’s cuddling her child. Perhaps better yet, put these kinds of thoughts in an earlier chapter, as background material. Then she can just fly out of bed and run to her child, and some further reflection can come when she’s found the baby safe. This is a time to act, not reflect.

Thanks for your comments. Everyone is different, and depending on the kind of character we create, they will respond differently. I would be exactly like that second example. I did similarly when I woke and hadn’t heard my baby cry at night. I put off going in as long as I could. Of the hundreds of writers I’ve shared these examples with in workshops, 99% agree with the second one as the more moving, effective, and believable example. As I said, everyone is different. But it’s all about your character–her past, who she is, etc. You might try to write this scene and then run it by critique partners and see what their response is to the way you present the character. It might be enlightening!

As a fairly new writer, I have a question that might seem silly, but it’s one that I’ve often debated. I have a tendency to spend way too much time on the scenes as I write them. I’ll go back, and back again, until I feel like it’s perfect … until I don’t. At this point I am 15,000 words in and have probably spent enough time on the chapters that I have done to have completed two novels.

Experienced writers, keep telling me to just write, and finish the first draft. Do you feel it would be appropriate to draft scenes like example #1 and then come back to add emotion like example #2 during the second draft? After reading your article, I have found myself going back to my completed chapters once again, and looking for opportunities to add emotion. I don’t feel like this is productive. Any advice?

I hear you! I constantly rework and edit as I go along, and usually by the time I complete a draft, it’s finished except for proofreading. However, I always push to make progress. If you set a goal to write at least one scene, however rough, every time you sit down, you can give yourself permission to go back and noodle with whatever you’ve written–that scene or a prior one–to polish it more. But the point is to make progress. If the problem is you are “pantsing” and don’t have a strong outline such that you don’t know what your next scenes will be, that can cause a lot of procrastination. Work on a scene outline (with me!) and get it tight. Then it won’t create a barrier to you getting those next scenes written. Usually redoing scenes over and over is due to not feeling confident where the story is going 🙂

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KathySteinemann.com: Free Resources for Writers

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

400+ Ways to Exploit Facial Expressions in Writing

(Discover even more words in The Writer’s Body Lexicon .)

Effective Writing Agrees With Itself

In real life, scowls, smiles , and curled lips reflect underlying emotions. They should do the same in fiction or creative nonfiction.

• A protagonist in pain is unlikely to smile.
• A deceitful character probably won’t maintain eye contact with others.

This post will help you choose emotion beats that harmonize with context. In addition to facial expressions, the following list includes body language involving the face, head, and neck.

100+ Ways to Say Blush 100+ Ways to Say Cried 200+ Ways to Say Embarrassed 500+ Ways to Describe Faces 200+ Ways to Say Frown or Scowl 300+ Ways to Say Happy 99 Ways to Say Laughed or Smiled 125 Ways to Say Look or See 600+ Ways to Describe Necks Other Ways to Say Nodded 120 Ways to Say Pout 200 Ways to Say Shake the Head 300+ Ways to Say Sigh Too Many Sighs of Relief in Your Writing? 75 Alternatives

Emotion Beats and Physical Manifestations Cheat Sheet

Each category heading is followed by several ways a character could show the mentioned emotion(s).

Agony, pain, suffering – prominent lines between the eyebrows – gaze directed downward – raised lips – raised cheeks – eyes squeezed shut – wrinkled nose – bared teeth – clenched jaw – grimacing – wincing – gritting teeth – massaging between one’s eyebrows – inside corners of eyebrows slanting upward

Anger, hostility – bulging eyes – dilated nostrils – clenched jaw – red face – icy stare – curled lip – rigid cords in neck – glaring – frowning or scowling – baring one’s teeth – grinding teeth – staring somebody down – pressing one’s lips firmly together – vein(s) pulsing in neck or temple

Anguish – skin bunching around the eyes – clenched jaw – pinched lips – sallow features – facial tics – visible cord(s) in neck – tensing one’s facial muscles – wincing – grinding teeth – hyperventilating and then blowing into a paper bag

Apathy, boredom, disinterest, indifference – blank stare – glazed eyes – minimal eye contact – yawning – closing or half-closing one’s eyes – propping one’s head in hands – picking one’s nose – focusing on anything or anyone except where attention should be focused (e.g., fingernails, watch, clothing, etc.)

Cautiousness, wariness – cocked head – narrowed eyes – pursed lips – lowered eyebrows – lifting one’s chin – jutting one’s jaw – chewing on one’s lip – pressing one’s lips together – frowning – gritting one’s teeth – gazing in direction of perceived hazard – glances darting about rather than focusing on anything in particular

Compassion, sympathy – sad smile – direct eye contact – wide eyes – brows pulled together – moist eyes – tears – wiping one’s nose with a tissue – nodding while listening, one’s mouth half-open – monitoring the face of the object of sympathy

Conceit, egotism, narcissism, vanity – pronounced lip-pursing – thrust-out chin – nose in the air – flawless makeup – one raised eyebrow – tweezed eyebrows – signs of plastic surgery – downturned corners of the mouth – supercilious gaze through half-lidded eyes – immaculately trimmed beard and mustache

Concentration – wide eyes – dilated pupils – slight frown – staring with half-lidded eyes – nodding – pursing one’s lips – making eye contact when listening or conversing – pressing index finger to one’s cheek and propping chin on rest of clenched fingers

Confusion – wrinkled nose – cocked head – unfocused gaze – grimacing – excessive swallowing – scratching one’s face – rubbing one’s chin – touching the base of one’s neck – pursing one’s lips – cocking one’s head – narrowing one’s eyes – tugging on an earlobe – chewing on one’s lip – rapid blinking – squinting – pulling one’s brows together in a frown or scowl

Contempt, disgust – nose in the air – wrinkled nose – downturned lips – pinched mouth – mocking smile – flushing – sneering or snarling – curling one’s upper lip – squinting – frowning – rolling one’s  eyes – arching one eyebrow – sticking out one’s tongue – vein(s) pulsing in neck or temple

Curiosity – cocked head – raised eyebrows – quizzical smile – focused gaze – wrinkled nose – blinking – pushing up one’s glasses – partially opening one’s lips

Deceit, deception, dishonesty – shifty eyes – avoidance of eye contact – misleading attempt to maintain eye contact – sweating – excessive blinking – reddening of the ears – biting one’s fingernails – chewing the inside of one’s mouth – rubbing one’s nose – making inappropriate facial expressions for the circumstances

Depression – tears – inappropriate laughter – lack of eye contact – infrequent blinking – red or moist eyes – vacant stare – downturned lips – slack expression – dark circles under the eyes – head tilted downward

Disappointment, frustration – crinkled eyes – lowered head – half-hearted smile – lips pressed together – pronounced sigh – lack of eye contact – moist eyes – rigid expression – shaking one’s head – grinding one’s teeth – biting one’s nails – swallowing hard – gaping – frowning or scowling – wincing – chewing on one’s lip – pressing one’s lips together – exhaling noisily through pursed lips

Distraction, preoccupation – audible exhalations – facial tics – darting glances – pale face – forced laughter – lips pressed together – grinding one’s teeth – sighing – glancing askance (sideways) – chewing on one’s lips, nails, or a personal object

Embarrassment, shame – downturned head – downward gaze – red ears – chin held close to body – minimal eye contact – tense muscles around closed mouth – blushing or flushing – trembling chin – frowning – fluttering eyes – biting one’s lip – glancing away – sweating – grimacing – coughing – wincing – gritting one’s teeth – swallowing hard – hiding one’s eyes or face behind hands, hair, hat, etc.

Envy, jealousy – downturned mouth – jutting chin – bared teeth – flared nostrils – pouting – squinting – frequent swallowing – chewing on one’s bottom lip – flushing – glowering – pressing one’s lips together in firm line – gritting teeth – sneering – scrutinizing object of envy or jealousy

Excitement – flashing eyes – dilated pupils – broad grin – dimpled smile – trembling chin – laughing – frequent blinking – flushing – giggling – initiating and maintaining eye contact

Exhaustion, fatigue – dark circles under the eyes – red eyes – inability to keep one’s eyes open – pronounced lines in face – wan face – yawning – slapping one’s cheeks in an effort to stay awake – closing one’s eyes while standing, and almost falling over

Fear – brows raised and pulled together – eyes frozen open – pale, trembling features – facial tics – lack of eye contact – darting glances – beads of sweat on face – bulging eyes – moist eyes – shaky smile – open mouth – raised brows – rictus grin (involuntary fake smile) – rapid blinking – squinting – licking one’s lips – vein(s) pulsing in neck or temple – chewing on one’s hair, a pen, or another personal object

Flirtatiousness, seductiveness – fluttering eyelashes – coy smile – lopsided grin – slightly narrowed eyes – open mouth with tip of tongue showing – moistening one’s lips with tongue – head turned away or slightly downturned while one maintains eye contact

Happiness, enthusiasm – laughter – dimpled smile – broad smile – sparkling eyes – winking – humming or singing – whistling – a smile that reaches the eyes – relaxed brow free of frown lines – crow’s feet around outer corners of eyes

Hatred, hostility – sideways glances – tight-lipped smiles – flared nostrils – clenched jaw – bared teeth – tears – beads of sweat on face – flushing – grinding teeth – vein(s) pulsing in neck or temple – rigid cord(s) in neck – snarling – sneering – spitting – glowering at object of one’s hostility

Hesitation, indecision, uncertainty – lips turned down – lopsided grimace – wrinkled brow – shaky smile – repeated swallowing – chewing one’s lip – biting the inside of one’s cheek – squinting – frowning or scowling – tugging on one’s bottom lip – rubbing or stroking one’s jaw – shaking one’s head slightly – tugging at one’s earlobes or hair – scrutinizing others to determine their opinion

Insecurity – excessive makeup – tight-lipped smile – lowered eyebrows – puckered forehead – minimal eye contact – biting one’s nails – chewing on one’s lips – frowning or scowling

Insolence, rudeness, disrespect – thumbing one’s nose at someone – sticking out one’s tongue – snorting – curling one’s lip – rolling one’s eyes – openly picking one’s nose – laughing at someone – yawning while someone is talking – refusing to face the person who is speaking

Irritability, petulance, sulkiness – lips pressed together – pursed lips – fake smile – forced laughter – narrowed eyes – small flushed circles on cheeks – gritting one’s teeth – squinting – frowning or scowling – glaring at the object of irritation – biting the inside of one’s cheek

Nostalgia – unfocused gaze – touch of a smile – moist eyes – tears – cocked head – sparkling eyes – closed eyes

Pessimism – wrinkled nose – knitted brows – pursed lips – curled lip – staring – squinting – grinding one’s teeth – frowning or scowling – tilting one’s head and looking askance (sideways)

Pride [in oneself] – dimpled grin – face-wide smile – Cheshire cat grin [cliché] – gleaming eyes – half-lidded eyes – elevated chin – maintaining eye contact – thrusting one’s jaw forward – holding one’s head high or tilting it back

Pride [in someone else] – moist eyes – tilted head – dimpled grin – adoring gaze – glowing cheeks – broad smile – nods of encouragement – tears trickling down face

Relaxation – gentle smile – smooth forehead – creases beside the eyes – a smile that reaches the eyes – direct eye contact without staring but with minimal blinking

Remorse, regret – head down while one is talking – moist eyes – pale face – hollowed cheeks – runny nose – trembling chin – dark circles under the eyes – sobbing or crying – staring at one’s toes – holding one’s head in one’s hands

Resentfulness – pinched lips – narrowed eyes – lack of eye contact – twisted mouth – curled lip – bared teeth – frowning or scowling – pouting – shaking one’s head – orange-peel consistency appearing on skin of tightened chin

Sadism – curled lip – evil grin – clenched jaw – bared teeth – twisted scowl – horizontal wrinkles between eyebrows – lips stretched so tightly over teeth that they seem to disappear

Sadness, unhappiness – downturned head – red eyes – moist eyes – puffy face – runny makeup – splotchy complexion – trembling chin – empty stare – drawn-down corners of the mouth – pouting – squinting – rubbing one’s eyes – staring at floor – crying – wiping one’s nose with a tissue – wincing – covering one’s face with the hands – holding one’s head in one’s hands – staring at toes or floor

Secrecy, stealthiness – sly smile – faraway look – winking – biting one’s lip – avoiding eye contact – forcing one’s lips closed into a firm line

Shyness – minimal eye contact – closed mouth – biting one’s lip – glancing away – lowering one’s head – looking down – biting one’s nails – blushing – covering one’s mouth with a hand – playing with one’s hair or mustache

Surprise – raised and curved brows – wrinkles across the forehead – gaping jaw – wide eyes with the whites showing – blinking

Worry – tight-lipped smile – knitted brows – puckered forehead – moist eyes – minimal eye contact – dark circles under the eyes – biting one’s nails – chewing on one’s lip – rubbing an eyebrow – kneading one’s face – blinking

If you need additional beats, consult a body language dictionary . (As an Amazon Associate, I earn from qualifying purchases.)

Avoid Boilerplate Beats

Whenever possible, create original phrases rather than rely on generic beats. For example, a slight smile could be referred to as an almost smile , the ghost of a smile , or an enigmatic quirk of the lips .

If you’re stuck for a facial expression, try a YouTube search similar to the following: facial expressions __________ , where the blank specifies the expression you’d like to see. Then, fire up your creativity to show the emotion behind that expression.

Context Is Crucial

Many emotion beats can be caused by multiple emotions. Ensure that your context provides clear direction for readers.

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27 thoughts on “ 400+ Ways to Exploit Facial Expressions in Writing ”

Kathy — As a poker player (Facial Expressions!), and a writer (Facial Expressions!”) where can I find a copy of your Facial Expressions book? That sounds so cool (and so necessary). Let me know, will you? I want one! – – – – – – – – – – Larry W. Phillips BOOKS: “Ernest Hemingway On Writing”, “F. Scott Fitzgerald On Writing”, “Zen and the Art of Poker’ * others. EMAIL: [email protected]

PS — I do not have a website

Thanks, Larry.

Scroll down to The Writer’s Body Lexicon on this page: https://kathysteinemann.com/Musings/books-lexicon/

Excellent timing! Right now, digital versions of all three Lexicon s are half price.

Wow! That was an absolutely excellent list! Thank you so much!

Thanks, Dawn. Have a great weekend!

Thank you so much for such a list, it has really helped me edit out many things out of my work.

Thanks for reading this, Zaza, and good luck with your editing!

Thanks so much for this list! I’ve been trying to figure out how to describe the uh-oh or oh dear face that people make where their bottom lip pulls down to one side. This is usually done in an effort to communicate with someone silently. There’s also the facial gesture, often accompanied by a shrug, that communicates indifference or an inability to answer a question. I’ve been using “he/she pulled up his/her bottom lip and shrugged his/her shoulders” for that one. Can you suggest anything else for either of those. I think your lopsided grimace might do it for the uh-oh/oh dear. Now for a little pet peeve I have. You are certainly not alone with this. It seems like everyone words these actions this way. To chew one’s lip is physically impossible. We chew with our molars, in the back of the mouth. We bite with our incisors, in the front of the mouth. So it should be bit at one’s lip/bite one’s lip. Chewing one’s cheek would be more correct than biting one’s cheek. Biting your cheek refers to the chomp you accidentally give your cheek when you’re eating. Again, this is not meant as criticism. Just something I’d like to see writers correct. If in doubt about this, try googling chew one’s lip. All the results come back as bite one’s lip. Anyway, thanks again for this resource. It’s helped me soooo much!

I’ve never heard of this one, Kris: “… the uh-oh or oh dear face that people make where their bottom lip pulls down to one side. This is usually done in an effort to communicate with someone silently.” Yes, the lopsided grimace would work, although I wouldn’t interpret it as trying to communicate with someone silently.

I would communicate indifference with a simple shrug — not of the shoulders. Shrug: to raise one’s shoulders slightly and momentarily to express doubt, ignorance, or indifference. The definition already includes shoulders.

What do you call it when you put a pen or pencil in your mouth and bite on it repeatedly with your teeth? Chewing on gnawing on it. What do you call the same action with a carrot or a finger? Chewing or gnawing on it. So what do you call it when you put your lip between your teeth and repeatedly bite on it? 🙂 Google defines chewing as a repeated biting or gnawing of something.

To “bite one’s lip” or to “bite one’s tongue” are idioms that mean to prevent oneself from saying something inappropriate for the situation.

I’m glad you stopped by, Kris. Good luck with your writing!

I really thank you & appreciate your kindness & generosity in sharing these facial expressions..I am just beginning to write…just retired, being a senior citizen..

Thanks again, Ester.

It’s help me a lot,thank you

I’m glad this helps you, Ashley.

Thank you very much. I am novice script writer and this helps tremendously.

My pleasure, Cudda. I’m glad this post helps you.

THANK YOU!! I am so tired of talking about brows furrowing, corners of mouths turning up, and eyes glistening with emotion 🙂

I’m glad I could help, Robin.

Thanks for all the adjectives and phrases! Will check out your books. Have some other such books that unfortunately have been redundant and unimaginative. I like your approach and method. Thanks!

Thanks, KC.

Good luck with your writing, and stay safe!

I’m leaving this comment for an upcoming blog post on the wrong way to share links. I need a URL, and I don’t want to focus on a comment left by someone else. I’ll edit this to include the link for the post once it’s online.

Thanks for your patience, folks! Exclamation point intended. 🙂

Edit to comment: You can read the blog post that references this comment here: https://kathysteinemann.com/Musings/link-share-mistake/

Thanks, Fran.

thanks helpful *flashing eyes* haha

You’re welcome.

This is so helpful. I’ve often thought, ‘how do I show that in writing.’ Thanks so much for sharing.

Thanks for dropping by, Tricia!

Hi Kathy, These lists must be very helpful for writers with little imagination – for some do write in a mundane way….The really ‘clever clogs’ (to be applauded) can, sometimes, also overwrite and tend to really milk their prose. It’s hard going to slog your way through 6/800 pages – however good they are when you’re a busy writer yourself.(As I did reading ‘The Goldfinch’ – an intelligent, worthy writer: brilliant but she doesn’t know when to stop…(I should be so lucky!) Thanks, Kathy.

Thanks for stopping by so often, Joy.

Yes, overmilked prose does make for a sluggish read. I’ve read popular authors who go on … and on … until I lose track of the storyline. But I’m amazed at the detail writers like Colleen McCullough include without making their books seem tedious.

Writing Tips: How to Evoke Arousal Through Words Crafting a Descriptive Story

Arousal can be described as a heightened state of physical and mental energy that often manifests itself in butterflies, accelerated heart rate and sweaty palms.

How To Describe Arousal In Writing

When describing arousal in writing, it is important to consider the complexity of your text (perplexity) and the variation of your sentences (burstiness). When writing, think about how you can convey an aroused state in a way that is both captivating and understandable. To increase perplexity, try to include some longer or complex sentences that will draw the reader in. To create burstiness, intersperse shorter sentences throughout. Creating a unique pattern of longer and shorter sentences will make the writing more interesting to the reader. Furthermore, consider using figures of speech or figurative language to create an emotional reaction. Incorporating these tools will make your description of arousal come alive.

Ways To Describe Arousal In Writing

Writing about arousal can be a tricky task since it is often based in very subjective experiences. However, there are some techniques writers can use to help paint a vivid picture of the emotions and sensations aroused in a character or reader. Expressing emotional arousal through descriptive language can create a palpable atmosphere on the page and evoke strong feelings in the reader. Physical indicators of arousal can also be used to give an even more detailed description of the scene.

Descriptive Language For Writing About Arousal

Verbs are a great way to express physical sensations associated with arousal, such as trembling, quivering, or fluttering. Adjectives like intense, passionate, and feverish can also be used to describe heightened emotions in a character or situation. When writing about arousal, it is important to avoid cliches and instead focus on creating unique descriptions that will draw readers into the world of the story.

Mental States To Show Arousement In Writing

Fear and anxiety are two mental states that can be used to convey arousal in writing. These feelings often manifest physically in characters, such as trembling hands or beating hearts. Apprehension and panic can also be used to create tension and immediacy in a scene. It is important for writers to pay attention to how these mental states affect characters’ physical reactions so that they don’t become too abstract for readers to understand.

How To Paint A Picture With Words To Show Arousal In Writing

Visual imagery is one of the most powerful tools writers have for conveying emotion on the page. Descriptions of characters’ facial expressions, body language, and gestures can help readers understand what they are feeling without explicitly stating it. Symbolic imagery can also be used to convey sensations associated with arousal such as heat or electricity without resorting to cliches like sparks flying between two people.

Metaphors And Similes For Expressing Molten Passion In Writing

Similes like as hot as fire and as electric as lightning are effective ways for writers to describe intensity of feeling within a scene without resorting to overly dramatic descriptions. Metaphors such as describing love as an infinitely deep ocean or passion as an unstoppable force of nature can also help writers intensify moods of passion without losing subtlety or nuance in their writing.

Explaining Sensations Caused Due To Arousement In Writing

Writing can be a powerful tool for conveying the sensations caused by arousal. Through the use of words, the writer can express the tingles of excitement, the intensity of fear, and the rush of joy that may accompany moments of heightened emotion. By carefully crafting language to capture a particular sentiment, the reader is able to experience these sensations along with the author.

When writing about arousal, it is important to consider which words will best capture and convey a given sensation. Tactile sensations such as goosebumps or shivers can be described with words like tingly or prickling. Auditory stimulations such as a pounding heartbeat should be described using phrases like pounding or thudding.

Word Choices That Can Make Writing Come Alive With Feelings Of Heightened Excitement

To make writing about arousal come alive with excitement, unconventional language choices are essential. Dramatic phrases such as the thrill of anticipation or anxiety bubbling up within can create tension in the reader and evoke a feeling of exhilaration. Words that evoke an emotional response are also helpful in conveying heightened emotions; for example, words like exhilarating or dreadful can help to bring out powerful emotions in both the writer and reader.

Power Words That Enhance The Impact Of Writing About Excitement

In addition to evocative language choices, certain buzzwords related to excitement can also enhance the impact of writing about arousal. Words like thrill, adrenaline, and tension all have connotations that can increase the intensity of writing about intense emotions. Similarly, expressions like heart pounding or breathless anticipation are useful in creating an atmosphere of suspense and anticipation in readers.

Descriptors That Can Help Describe Delightful Alarm Or Frightening Fear Caused By Arousement

Finally, when attempting to describe delightful alarm or frightening fear caused by arousal in writing, descriptive words that precisely illustrate euphoria or fear should be used. For instance, expressions like euphoric bliss and paralyzing terror are useful for conveying these sensations accurately and vividly. Colored expressions such as a dizzying rush of joy or a “chilling sense of dread” are also helpful in precisely describing fearful or pleasurable reactions to arousal.

FAQ & Answers

Q: What Are Ways To Describe Arousal In Writing? A: Ways to describe arousal in writing include expressing emotional arousal with descriptive language, mental states to show arousement, painting a picture with words to show arousal, metaphors and similes for expressing molten passion, explaining sensations caused due to arousement, word choices that can make writing come alive with feelings of heightened excitement, power words that enhance the impact of writing about excitement, and descriptors that can help describe delightful alarm or frightening fear caused by arousement.

Q: What Are Verbs For Describing Arousal? A: Verbs for describing arousal include quiver, throb, palpitate, pulse, swell, undulate, surge, vibrate.

Q: What Are Adjectives For Describing Arousal? A: Adjectives for describing arousal include aroused, stimulated, electrified, aroused from within/without.

Q: How Can I Paint A Picture With Words To Show Arousal In Writing? A: You can paint a picture with words to show arousal in writing by using visual imagery and symbolic imagery. Visual imagery involves using metaphors and similes to create vivid images in the readers mind while symbolic imagery involves using symbols or objects to represent emotions.

Q: What Are Metaphors And Similes For Expressing Molten Passion In Writing? A: Metaphors and similes for expressing molten passion in writing include comparing feelings of arousal to being like fire by saying “his heart was on fire” or “she felt her skin burn with desire.” Other similes could be “he was as tense as a bowstring” or “her breathing was as rapid as hummingbird wings.” Metaphors could include saying “his heart raced like horses” or “she felt her veins turn into rivers of pleasure.”

In conclusion, writing about arousal can be challenging but also rewarding. It is important to make sure that the language used is appropriate and that any physical descriptions used are done so in a tasteful and respectful way. Arousal can be described in a variety of ways, from the subtle to the explicit. Ultimately, it is up to the writer to decide how much detail they want to provide when describing arousal in their work.

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Emotions in Writing: The Author’s Guide to Stirring Up Big Feels

If you know how to convey emotions in writing, you know how to draw your reader in, hold them captive, and make them remember you forever.

And if you think that sounds manipulative, my brother/writing partner once referred to this skill as the art of “jerking people’s emotions around.”

But he’s right, and we writers might as well own it. The only reason anyone picks up a novel is because they want to feel something.

Thrilled. Terrified. Soothed. Devastated. Anxious. Intoxicated.

Sure, fiction makes us smarter and more insightful. But let’s be real: the only reason it succeeds in making us think is because it first succeeds in making us feel . 

So how do you become an all-powerful emotion wizard?

It’s all right here. You’re about to learn how to plot a story built for emotional resonance and draft scenes that speak to your reader’s soul. So… big stuff.

Let’s start feeling those feels.

Lay the Emotional Groundwork

The first rule of emotions in writing:

Set up your story to elicit big feels.

New writers especially tend to think building emotion is a matter of heartbreaking dialogue or shocking cliffhangers. And sure, that’s part of it. 

But the fact is, it won’t matter how well you nail those micro details if the story itself doesn’t feel authentic and resonate with your reader.

So before we dive into the matter of bringing out emotions in your writing, let’s lay the groundwork for a powerful story.

Know How You Want Your Readers to Feel

What specific emotional experience are you trying to create for your readers?

Or to put it another way:

If you were going to read a book in your chosen genre, what would you want to feel?

Be specific, because specificity is your mightiest tool when it comes to conveying emotions in writing.

For example, you’d probably want the romantic subplot in an adventure novel to charm and delight you. Maybe even dizzy you up a bit. 

But if you pick up a romance , you’re looking for a full-on swoon. Those love scenes had better make your heart race, make you breathless, make you believe in love again no matter what broken dreams lie in your past.

Revisit some of the books that made you want to write in your genre in the first place. Make notes about how you feel, when you feel it, and what the author did to spark those emotions. 

Then, as you draft each new scene, go into it knowing exactly what you want your readers to feel so you can make it happen.

Establish Relatability

How are you going to get your reader to emotionally invest in your protagonist?

You’ve got to offer at least a glimmer of relatability, and you’ve got to do it early. 

Fortunately, this is way easier than you might think. Your reader doesn’t need to see their actual life reflected in your story. They also don’t even need to see their personality reflected in your character. All they really need in order to relate is a glimpse of vulnerability. That’s it.

In White Ivy , Ivy Lin is a young Chinese immigrant trying to carve out a path to status and power in a cold new world. She’s a protagonist with a shockingly negative character arc , and I definitely do not recognize my life in hers.

But on page one, I learn two important pieces of information.

She feels invisible and she wishes she could trade her face for someone else’s.

These are near-universal vulnerabilities. Even though Ivy’s feelings are connected to the very specific experience of being an Asian immigrant in the U.S.—an experience I couldn’t claim to understand intimately—I can at least say there have been times in my life when I’ve felt invisible and unappealing.

This is why literature is such a powerful tool for empathy. Great books start with an emotional entry point. They show a character’s insecurities, fears, failings, or wounds, inviting the reader to say, “Oof. Yeah, I know that one.” Suddenly, the unfamiliar becomes the understandable. 

Flesh Out Characters

Once you’ve hooked your reader’s heart by dropping some relatable vulnerabilities, follow through by making sure your characters are multi-dimensional creations.

This includes side characters and antagonists . You want your players to feel human (even if they’re not). This means they’ve got to have:

• Compelling motivation

Also remember that your characters do not exist in a vacuum. They’re influenced by their upbringing, culture, economic class, race, gender, sexuality, ability, physical and mental health , and about a million other things. Let your reader see how your characters’ influences shape who they are.

On that note, backstory helps a lot as you build emotion into your story. What has your character been through? How has it shaped their perception of the world? What old wounds are they carrying? 

This stuff can get pretty dense, but it’s worth putting in the work. I recommend checking out these two Dabble articles to get started:

• How to Write Compelling Characters From the Inside Out
• No Pain, No Gain: Giving Your Characters a Compelling (and Traumatic) Backstory

Get Readers Invested in the Outcome

So how does the actual plot factor into the process of jerking people’s emotions around?

The good news is that you’ve already done a lot of the heavy lifting in your character development. If your readers care about your protagonist, they’ll care what happens to your protagonist.

But you still need a plot that supports all your hard character work. This means:

‍ Your major characters should face both external conflicts and internal conflicts. As the external conflict intensifies, it should heighten the internal conflict (and vice versa). You can learn more about how to do this here .

‍ You continuously raise the stakes for your protagonist. With each new twist and turn, your hero(ine) has even more to lose.

‍ The protagonist’s choices drive the plot. Don’t make your main character a constant victim of their circumstances. At best, a passive character will only elicit pity, which is the most boring of all emotions. Allow your very human protagonist to make choices that make the conflict worse.

‍ It all makes sense. Logic has an important role to play when it comes to emotions in writing. A gaping plot hole or unsupported character decision will break the spell you’ve worked so hard to cast. For a great guide to plotting an airtight story, download our free ebook , Let’s Write a Book .

Now that you’ve designed your story to stir the soul, let’s get down to the details.

How to Convey Character Emotions in Writing

You’ve laid your foundation. Time to wipe the sweat off your brow and get into the nitty gritty.

Here’s how to bring your character’s emotions to life when you actually get down to drafting.

Use Sensory Details to Set the Mood

Conveying character emotions in your writing isn't just about telling the reader what your character feels.

It’s also about reflecting those feelings in the scene itself. This is especially true when it comes to your point-of-view (POV) character . 

See, even if you write in third person, you still write through the lens of your character’s perception.

You might write in third-person limited , where you only show one character’s perspective at a time. Or you might write in third-person omniscient , which allows you to hop from one character’s POV to another’s. Either way, the character’s emotional state should be reflected in the scene you set.

For example:

“I just can’t marry you,” Daniel had said in the suffocating heat of his car.

So simple, right? One quick scene detail—”suffocating heat”—immediately puts us in Ivy’s shoes. We know what kind of hurt this break-up brings: the kind that makes it hard to think, hard to breathe, hard to stay calm. It's a hot, suffocating kind of heartbreak.

Now, the reason “suffocating heat” works so well to establish an emotional experience is because it’s a sensory detail. It’s concrete. Believe it or not, that’s the key to sliding your reader’s feet into your character’s emotional shoes.

We tend to think of “feelings” as abstract, but when it really comes down to it, we experience everything through physical bodies. We’ve built associations between what we feel in our hearts and what we see, hear, taste, smell, and feel on our skin.

That’s why, if you want to give your reader the heebie-jeebies, your best bet is not to tell them it was really scary in the alleyway, but to show them the long shadow of the broken fire escape ladder. The old advice “show, don’t tell” is really about giving your audience all the feels.

Get Into Your Own Body

Here’s another reason why sensory details are so essential to communicating emotions in writing:

We experience emotions physically. We know what we feel because our body tells us what we feel.

If you’ve never thought about this before, now is the time to start noticing.

What physical sensations arise when you feel angry? Anxious? Amorous? Try to notice. Write it down. Remember it when you’re trying to convey your character’s emotions.

This is honestly one of my favorite things about being a writer—the phenomenon of feeling and observing at the exact same time. I’ve had full-blown panic attacks where my inner writer was still there watching and murmuring, “Oh, interesting.” as she scribbled in her little notebook.

In addition to observing yourself, you can find great examples of how to convey the physical experience of emotion in any book that’s successfully sparked emotion in you . 

But if you want the masterclass, check out The Sign for Home . Part of this novel is told through the POV of Arlo, a young DeafBlind man who experiences the world through physical sensation. The result is a lot of passages like these:

‍ Electricity ignites all over your brain, causing the hair follicles on your arms and the back of your neck to vibrate. 

‍ You had never met the principal before, but his power was legendary. Your face felt hot. Your stomach tightened. You wanted to pee.

When our brains read passages like this, they register these physical experiences as if they were our own. We feel the vibration and, therefore, the excitement. We don’t put ourselves in the character’s shoes as easily when all we know is that the character was “psyched.” 

Master the Art of Subtext

This is another skill that takes some real-world observation and a lot of novel-reading to master.

You probably know you can’t have your characters running around saying exactly what they feel all the time unless it’s an actual character trait. Real people don’t do that, so if your characters do it, your reader’s going to remember that this is all make-believe. 

Pssheww! That’s the sound of your reader’s emotional connection exploding.

So then how do you help your readers hear what your characters aren’t saying?

One helpful fact about human beings is that we’ve developed a sort of subtext shorthand. We already have phrases that we know will signal our feelings without requiring us to do the dirty business of actually stating those feelings outright. 

For example, here’s a line of dialogue from Seven Days in June with zero context.

‍ “Fine. Go explain to Audre why you’re scared to try new things.”

You don’t need me to tell you anything about the scene in order to understand that the speaker is tired of the listener’s crap. Right?

So, as a writer, all you have to do is start noticing our universal shorthand for “I’m pissed” and “I’m jealous.”

You can also use the descriptions between lines of dialogue to clarify your characters’ states of mind. Here’s another passage from the same novel:

‍ “What’s he like?” Shane knew he was going too far.

‍ “Travis Scott?”

‍ “Audre’s dad.”

‍ Eva sat back in the booth, hard. She grimaced and massaged a temple with her knuckles. “He’s stable .”

‍ Shane went further. “Where is he?”

‍ “You tell me. Where do men go when they’re done?”

You can feel the tension, right? To create it, the author taps into Shane’s thoughts (as he’s the POV character in this scene) and Eva’s actions. (Not to mention that stinging line at the end.)

It also helps that the author has written vivid characters. By this point in the story, we know these people well enough to understand how they’re likely to feel in this conversation. 

Incorporate Body Language

In the last example, Eva’s body language served as a clue that there were big feelings bubbling behind her measured words.

But body language and facial expressions aren’t just a subtext tool. They provide a window into a character’s state of mind in any given moment. Here’s Eva just standing around at a prestigious event right after unexpectedly running into Shane:

‍ [The dress] had gotten tighter somehow, sucking at her like Saran Wrap. She kept shifting it around her hips.

In other words, she can’t get comfortable… physically or emotionally.

Now, there’s one big challenge when it comes to using body language to convey emotions in writing. Most of us end up falling back on the same all-too-obvious body language cues.

‍ She wiped away a tear. He grinned. They shrugged.

My first drafts are positively riddled with shrugs and quiet smiles. A big part of polishing later drafts is going back over these boring descriptions and coming up with more specific, less repetitive details.

‍ The Emotion Thesaurus is an extremely helpful tool for this. So is good ol’ fashioned real-life observation.

Banish Clichés

As long as you’re searching that first draft for overused body language and facial expressions, you might as well look for clichés , too.

Because when we’re trying to get the reader to experience an emotion, we start loading up the clichés. 

‍ A single tear fell from his eye. She glared daggers. Their heart shattered into a million pieces.

These phrases are so common they’re almost meaningless. We’re numb to them. Unfortunately, their prevalence also makes them the first thing that comes to mind when we’re trying to describe emotions in writing.

Keep pushing past the first thought. Maybe even the second and third, too. Play with metaphor and (once again) use the physical to make the emotional come alive. 

When you do that, you can replace “They were meant to be” with passages more like:

‍ With him, she was at ease: her skin felt as though it were her right size.

(That’s from Americanah , by the way.)

Trust Your Reader

Finally, be aware that it is possible to overdo emotions in writing. 

Sometimes writers are so eager to make sure the reader connects with the character’s experience that they overload every page with feelings.

Emotional manipulation requires light touch. When a reader sees a lot of feelings talk, they stop seeing the story and start seeing the author frantically trying to tug at their heart.

Trust them to be smart enough to follow your subtext and the emotional logic of your story. When in doubt, invite your beta readers to tell you about their emotional experience of your novel.

Also allow your genre to inform how thick you want to lay it on. A noir mystery novel will probably take on a more cold and objective tone that only stirs curiosity and the occasional chill. 

Romances, on the other hand, tend to do a lot of emotional check-ins.

Know your readers. This is all for them, after all.

Let Dabble Help You Become a Master Manipulator

Now you know how to build a story that resonates and bring it home with powerful prose.

You’ve probably also figured out that this can be a messy process. Dabble can help.

Dabble’s Plot Grid allows you to plan, review, and edit your entire plot in one glimpse so you can see your characters’ emotional journey clearly. Plus, handy features like Comments and Stickies help you stay on top of pesky clichés and excessive shrugging.

The best part? You can try all these features and more for free for fourteen days. No credit card required. How does that make you feel? Click here to get started.

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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Great Adjectives to Describe an Exciting Feeling

Table of Contents

Have you ever felt your heart beating unusually faster? Or that you can’t help but jump up and down out of joy?

Then you might be experiencing the adrenaline rush associated with an exciting situation. There are many  adjectives for excitement  that you can use to describe how you feel. And we’ll talk about all that and more in this article. Let’s get into it!

What are Adjectives?

First things first, you need to learn what adjectives are and their function. This will help you learn how to use them better in your sentences.

Adjectives are words that are used to describe nouns in a sentence . They can describe anything from a person, ideas, places, feelings, objects like books, and so on.

Let’s say you went on a trip to Disneyland. You might describe your trip by saying, “My trip to Disneyland was  great .” Or you could also describe how you felt during the trip saying, “I’m  happy  we got to go to Disneyland.” In these sentences, the adjectives are great and happy, describing the trip and how the noun is feeling, respectively.

There are tons of adjectives in the English language that you can look through. It’s important to choose the appropriate ones in your sentences.

The Definition of Excitement

Excitement is the noun form of the verb excited. This can be characterized by intense eagerness or concentration, especially due to impending or anticipated positive events.

Being excited can also be interpreted as deeply enjoying something, such as food, play, or other work. When you feel excited, you may rush to do something or be unusually happy and enthusiastic.

Best Adjectives for Excitement

It’s time to get to know the best adjectives you can use to describe how you feel in a situation full of excitement . These are also close synonyms of the word exciting.

• Thrilling : Exciting and exhilarating, causing excitement and pleasure.
• Exhilarating : It has the same meaning as thrilling, but it’s often used more casually. 
• Stirring : Provokes enthusiasm, excitement, or passion.
• Rousing : Causing great emotional excitement.
• Stimulating : Producing adrenaline and endorphins speed up your heart rate and make you feel awake, alive, and excited
• Intoxicating : Having a great impact and appealing to all your senses.
• Electrifying : So exciting and dramatic that it causes intoxication and euphoria.
• Invigorating : Stimulating a person’s mind and rejuvenating them. 
• Moving : Exciting, but often results in emotional stress as after a big moment
• Inspiring : Causes you to feel confident about yourself or eager to learn something
• Gripping : A feeling of overwhelming emotion and an almost uncontrollable excitement
• Compelling : Something that is captivating and awe-inspiring
• Sensational : Causing great interest among the public as well as excitement.
• Powerful : Used to describe any distinctive and beautiful impact on the mind or body
• Dramatic : Extremely powerful and climactic 
• Shocking : Causing you to feel surprised or shocked
• Startling : It tends to cause an almost uncontrollable fright and discomfort
• Hair-raising : Extremely alarming, frightening, or astonishing
• Explosive : Something extremely and dramatically shocking

The next time you feel excited, you can look to these adjectives for excitement . These will help you effectively describe a feeling, situation, or event to your readers. They can also help inject more color into your writing.

Abir Ghenaiet

Abir is a data analyst and researcher. Among her interests are artificial intelligence, machine learning, and natural language processing. As a humanitarian and educator, she actively supports women in tech and promotes diversity.

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Cheat Sheets For Writing Body Language

What is body language and how do you use it when you write? Use these cheat sheets to help you with your body language descriptions.

What Is Body Language?

People react to situations with micro-expressions, hand gestures, and posture. Most of us are not even aware of them. However, what we do with our body language has a huge impact on other people and how they interpret and perceive us.

‘Even when they don’t express their thoughts verbally, most people constantly throw off clues to what they’re thinking and feeling. Non-verbal messages communicated through the sender’s body movements, facial expressions, vocal tone and volume, and other clues are collectively known as body language.’ ( Psychology Today )

Body language happens when we are doing something. We could be sitting, standing, or walking. We could be talking or thinking . Body language is often an involuntary reaction to something perceived by one of the five senses .

How To Use It In Writing

Using body language is one of the best ways to show and not tell when we write.

This is why we are always told to use body language in our writing. Sometimes, it’s easier said than written. So, I created these cheat sheets to help you show a character’s state of mind through their body language.

When you are completing your character biographies , be sure to include how your main characters move and talk. This is especially important for your protagonist , antagonist , confidant , and love interest . They are the characters that hold the story together and they should be as well-rounded and believable as possible.

The Top Five Tips For Using Body Language

• Use body language to add depth to dialogue .
• Use it because more than 50% of human communication is non-verbal.
• Use it to show how your character’s emotions affect their actions.
• Use it to help you show rather than tell your reader everything.
• Use it in moderation. If overused, it can slow your story down.

TIP: Use our Character Creation Kit  to create great characters for your stories.

Use this list to help you with your body language descriptions. It will help you to translate emotions and thoughts into written body language.

Obviously, a character may exhibit a number of these behaviours. For example, they may be shocked and angry, or shocked and happy.

Use these combinations as needed.

Use our  Character Creation Kit  to create great characters for your stories.

If you enjoyed this, read:

• The 17 Most Popular Genres In Fiction – And Why They Matter
• How To Write A One-Page Synopsis
• 123 Ideas For Character Flaws – A Writer’s Resource
• The 7 Critical Elements Of A Great Book
• All About Parts Of Speech
• Punctuation For Beginners
• 5 Incredibly Simple Ways to Help Writers Show and Not Tell
• 5  Instances When You Need To Tell (And Not Show)
• The 4 Main Characters As Literary Devices
• 106 Ways To Describe Sounds

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• Body Language , Creating Characters , Show Don't Tell , Writing Tips from Amanda Patterson

53 thoughts on “Cheat Sheets For Writing Body Language”

Wow….that’s probably one of the most useful lists I’ve ever seen…thanks!

Very useful…simply superb. Will be handy for me when I sit down to write next time.

A mullion trillion thanks for this incredibly useful page of “show” instead of telling. Thank you xx

I would have liked to pin this on pint rest 🙁

This is the best of the “show” lists I have either made or found. Superb.

Love, love, love these! Thanks for compiling them. I’m going to share them and put them in a file to resource. Michelle Random Writing Rants

This is very useful.

Its really helpful….

great post really!!! thanks for sharing

This is one of the most helpful writer’s guide posts I have ever seen. It is so hard not to write “He looked at her in awe”, but think about the specific body language in that situation. It also helps think about the traits a character can have… Every person is different so one can even put individuality into the writing by giving certain characters characteristic emotional expressions.

Thank you so much for sharing this!!

Thank you, Kimberley.

I know I’ll be referring back to this list often. Thank you so much for sharing.

Thank you, Melissa.

Perhaps this is the best way to hone up the writing skills of one’s own and I should be very thankful to you for helping the writers through this .

This is dangerous if astute advice. Anything that aids progress writing is useful, but anything that aids progress stops you thinking – and it is only by thinking that he universe opens a portal and pours out something original.

Great information not only for writing but observation of these behaviors in action. As a school counselor I am interested in non-verbal cues from others.

Great work! high degree of observation! really impressed.

This is great. There is one word that comes up SO OFTEN that it is distracting to me as a reader and that is “gaze.” People are gazing at things, at each other, they’re gazing all over the place. One time I counted the number of times “gaze” was used in a book and found an instance of 5 times in 4 consecutive pages. But another book used “gaze” 5 times in 4 consecutive PARAGRAPHS. Why the editors don’t catch this is beyond me. My favorite “gaze” quote from a book is, “Her brown gaze settled upon the distant mountains.” That didn’t make me think of her brown eyes. My first thought was that she was seeing smog! Is it strange to say a color with “gaze”? I’ve also seen something like, “His blue gaze swung up.” (the man was driving at the time) It sounds strange to me, but maybe that’s just me. The book with the distant mountains sentence used “gaze” heavily from the second page all the way to the second to the last paragraph! It was painful to read. I got rid of the book.

Very helpful to have this all in one place! Thanks!!!

Thank you! This is great! 🙂

Thank you for this post. It’s very helpful.

This is a good list. But I believe we can always be a little more creative in mixing them up to denote various degrees and subtleties in an emotion.

Yes, Ayan. As it says in the post: ‘Obviously, a character may exhibit a number of these behaviours. For example, he may be shocked and angry, or shocked and happy. Use these combinations as needed.’

These cheat sheets are worth their weight in gold! Thank you for taking the time to put them together.

AWESOME! I was just speaking with a friend who mentioned I needed to do this a little more. Thank you so much.

such an amazingly helpful post! Thank you!

Thank you. We’re glad you find this useful.

Melody, Would have ditched that book too. That’s just bad writing.

Please send me any further articles you put out. This one is very helpful. It makes us aware of the use of each movement as a symbol of inner thought. Thanks

This is the most helpful article I have read about telling vs. Showing. Thank you.

Thank you, Wendy.

Thanks for this really usefull I find that I use the same emotions over and over.

Thank you! This is an excellent reference for a desirable result.

“Excellent list,” she said, rubbing her hands together and grinning. ; ) Thank you!

Thank you, Melissa! I love it!!

Excellent!!

I read this very useful and generous article on stumbleupon.com Thank you for sharing your knowledge with me!

Thank you for the positive feedback. I’m pleased that this helps.

Thank you for this :))

Thanks for the helpful post! Great resource for the scripts I’m co-writing.

Simply superb compilation ! No more adjectives.

Thank you! We’re glad that you find these lists helpful.

Very useful! Thank you so much!

What a succinct and useful list!

“Unfortunately,” (pause, lips pursed indicating deliberation and thought) “these are almost” (stress on final word, downward tilt of the head with slight inclination to the left as the speaker maintains gaze on listener indicating mock-serious intent) “entirely” (extra stress on this word, head lifts and turns full-on indicating intent) “cliché” (jaw firms, slight downward shift of the brow, eyes narrow indicating mild annoyance.) “Sorry” (head lifts, jaw pushes out, eyebrows raised indicating belligerence and complete lack of genuine apology).

quite informative, and precise. thanks.

i’m highly grateful to you, thanks a lot n million, may god bless you a long and happy life

This is so useful! Thank you, thank you very much!

OMG! I impressed to read it. Really, you are doing good job.

Very informative thanks!

I need something different for pleading. and it’s not on the list. Why is the emotion I want not almost never on the lists? xP (Arg)

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how to describe excitement and actions between friends properly

i'm trying to write a short scene in one of my novels where two friends are sitting together on a bench for a cup of coffee, but for some reason i'm struggling A LOT. one friend just revealed they got accepted for a job they'd been wanting (it's a big thing), and i can't seem to find ways to describe the actions that the friend is doing while they are excited (for example, they might shake the other person by the shoulders, or nudge them, but it all keeps coming out very forced and not like an action done between friends). how should i go about describing these actions while making it sound natural?

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