room description creative writing

• Inspirations

March 23, 2013

Writing: how to describe a room.

• Keep it simple.
• Talk about colors, patterns, decor, and unique architectural details, if they're relevant.
• Talk about furnishings and props, especially if characters use them.
• Talk about anything in the room if it reveals something about the characters within. 
• Talk about space.
• Talk about unique details that readers may not usually associate with a given place (especially for sci-fi and fantasy works, where the settings are purposefully different anyway).
• Describe it naturally with your own personal writing style and sensibilities.
• Get technical or overly-explicit.
• Divulge in unnecessary details.
• Tell about room's atmosphere or impression; show it instead.
• Overthink or overdo things.
• Dump details in one long paragraph.
• Describe things in a dull, dry, choppy, or uninteresting manner; use your natural narrative voice.
• Describe things that the reader will already assume for a given place, especially if such things don't contribute to the story.

16 comments:

This comment has been removed by a blog administrator.

i like ur writing style....

You are a great writer. I'll uses some of your examples in the future.

Brilliant, brilliant writer you are!

Thanks for this write up. Very well done.

Thank you. I came from Doug Walker's review of the second episode of Avatar: the Last Airbender where he talked about how the show makes you feel like you're in a room, and so I was wondering how one might do that in writing.

Thanks the writer

really helpfull thank you

Thanks, this has really been helpful.

This was really helpful thank you very much.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Description Entry: Bedrooms

October 4, 2008 by BECCA PUGLISI

bed, night stand, dresser, armoire, make-up table, desk and chair, picture frame, window, closet, mirror, bookshelf, clothes hamper, wastebasket, wall shelves, phone, lamp, computer, notepads, books, rug, curtains, shade/blinds…

female: frilly, flowery, lacy, soft, pink/purple/yellow, hearts, stuffed animals, make-up/hair products, perfume, decorative pillows, canopy bed, diary, fuzzy-topped pencils, nail polish, bracelets, bangles, earrings…

male: sports memorabilia, geometric, spartan, darker colors, rumpled bedsheets, clothes on the floor, messy, dusty, CD collection, posters of girls (beach babes, film stars, Army, Action movies), toy guns, airsoft guns, action figures…

Music blaring, murmur of TV or talking on the phone, laughter, tick of a clock, radio alarm, click of computer keys while IMing, cat or dog scratching to get in, trill of a cell phone, squeaky bed spring, whispering, outdoor sounds leaking in through…

Perfume, hairspray, nail polish, model glue, body spray, deodorant, clean linen, sweat, rotting food, bubblegum, fabric softener, dust, wet towels, a whiff of dinner cooking in the kitchen, a spicy cheese smell from an open bag…

Bubblegum, the bitter taste of hairspray, breath mints, peanut butter and jam sandwich on a plate, a banana, granola bar, sugary pop, water…

silky, clean sheets, the unwelcoming hardness of pressing the alarm button, cool, smooth desktop, fuzzy sweaters, itchy sweaters, slippery t shirts, rough Cotton jeans, cool walls, soft, sinkable bead, balling up paper, tossing it into a garbage bin…

Helpful hints:

–The words you choose can convey atmosphere and mood.

Example 1:  When I could put it off no more, I tiptoed into Great Aunt BeeBee’s room. The floor was cold and gritty, dust and crumbs and who knows what else clinging to my bare feet. My only light came from a slit between the sagging curtains at the window, the feeble brightness barely enough for me to make out anything. I crept closer, trying to not gag on the smell of sweat and sickness. On the floor beside the bed I could just make out a twisted lump of blankets, but I couldn’t get up the courage to touch it. Please don’t be dead, I thought. I strained my ears for the sound of her rusty breath, and again remembered the sickening thump that had woken me…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Simile)  I followed on Anna’s heels, catching the bedroom door seconds before it could slam in my face. Enraged, I sucked in a deep breath and pushed the door wide. My words curdled into nothing at the mess greeting me–clothes, text books and muddy shoes lay across the floor in knotted clumps, pages from a teen magazine peppered the walls and CDs marched across the unmade bed like a ticker tape parade…

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

Setting is much more than just a backdrop, which is why choosing the right one and describing it well is so important. To help with this, we have expanded and integrated this thesaurus into our online library at One Stop For Writers . Each entry has been enhanced to include possible sources of conflict , people commonly found in these locales , and setting-specific notes and tips , and the collection itself has been augmented to include a whopping 230 entries—all of which have been cross-referenced with our other thesauruses for easy searchability. So if you’re interested in seeing a free sample of this powerful Setting Thesaurus, head on over and register at One Stop.

On the other hand, if you prefer your references in book form, we’ve got you covered, too. The Urban Setting Thesaurus and The Rural Setting Thesaurus are available for purchase in digital and print copies. In addition to the entries, each book contains instructional front matter to help you maximize your settings. With advice on topics like making your setting do double duty and using figurative language to bring them to life, these books offer ample information to help you maximize your settings and write them effectively.

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

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Reader Interactions

April 16, 2015 at 8:35 pm

I’m not sure if I missed it or if its somewhere else on the website, but I’m looking for descriptive ideas for explaining the noises of a house at night. Specifically those, sort of, tinkling sounds of the materials expanding and contracting with the temperature. Any thoughts or directions on this would be hugely appreciated!!! 🙂

April 17, 2015 at 11:11 am

Hi, Elizabeth. We don’t have a thesaurus for noises, but you should be able to find many house sounds by looking at the different house-related entries in The Setting Thesaurus: attic, basement, bathroom, bedroom, etc. Each entry has a SOUNDS field; by looking through those entries, you might find the sounds that you’re looking for. Best of luck!

December 3, 2018 at 7:04 pm

i know its a little late but descriptives for what your looking for would be EX: hrough a window I could hear the risings and fallings of a conversation being held on a porch near the corner, chatting and yapping and playing and shrieking; a car passed on the street the creaking, the sea noises, and the night birds outside. or I was surrounded by the musty, oily, salty smell of the ship and the ocean, and realized how sharp one’s senses become in the dark. Every place has its own scent, a peculiar mixture of organic growth and human industry, of must, paint, wood and vermin.

July 19, 2014 at 10:50 pm

I hadn’t seen these entries yet! Now I REALLY want a setting set of books…. 😀

July 21, 2014 at 1:32 pm

You’re in luck, Kimbra! We’re working on the first draft of the Settings Thesaurus right now. No firm publication date yet, but we’ll place periodic updates here at the blog. You could also sign up for our free newsletter (link below), which will bring notifications about our upcoming books and other info right to your inbox :).

https://writershelpingwriters.net/newsletter-archive/

June 22, 2011 at 5:17 pm

It is possible we would, but if so it would be when (and if) we put the Setting Thesaurus into a book version. 🙂 So glad this is helpful to you! 🙂

June 22, 2011 at 11:33 am

I love your blog, thank you for pointing out the little things that go unobserved but are a great importance to each and everyone of our stories! By any chance would you be writing any of these for different time periods? Either way, thank you for the inspiration!

October 6, 2008 at 9:06 pm

Brilliant! This could actually double, somewhat, for a hotel room (with a few minor tweeks and add ons….smell…blech). Anyways, great stuff! Thanks for the inspiration!!

October 6, 2008 at 8:40 am

Boy do I know about bedrooms! My room was ALWAYS such a total and complete mess that my dad put a sign on my door that read, “Danger Disaster Area Three Feet Deep.” It remained on my door for many years.

October 5, 2008 at 11:10 am

*Gives some warm milk to PJ*

Thanks for coming over Rachel–we’re glad you found us!

October 5, 2008 at 12:02 am

Hey, wandered over from AW and poked around! These thesaurus posts are incredible. What a fantastic resource.

October 4, 2008 at 10:28 pm

I’m sleepy just reading it! Love this! Thanks!

October 4, 2008 at 11:46 am

I like the interior design mags too. I think it’s because I have a hard time imagining the potential of a room without some visual aids. I’m currently looking into remodling my kitchen, and my head reels at all the options and choices there are! Becca must be much better at this than I (and I wish she lived closer!) because she recently did a big reno in her new home.

Gutsywriter, one of the best things about this blog (and all online writing groups) is the ability to learn together. Becca and I have had such a great experience by pairing up and working through our writing woes, it was something we wanted to share on a bigger basis.

Each time we do an entry, we learn as we go, flexing the imaginative muscle to come up with descriptions and emotional actions that feel real.

October 4, 2008 at 10:49 am

Thanks for helping us again and again in our writing. It must take you a long time to put together your postings. A lesson plan in itself. I still have your emotional thesaurus on my laptop every time I rewrite a chapter and need more show and less tell.

October 4, 2008 at 9:35 am

This detail leaped out at me :

“the unwelcoming hardness of pressing the alarm button”

Sounds like a bedroom of the rich and famous. 🙂 I love looking at pictures of bedrooms in books on decorating and interior design and imagining how I’ll decorate my bedroom some day. Maybe I’ll have one of those low tables with padded tops as well.

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A room is so much more than the sum of its parts when it encourages the soul to breathe.

A room can be small and perfect, plain and relaxing, simple and inviting.

A room with plants, with flowers in bloom, with calm pastels and soulful browns - to my heart and soul is a place that invites the most serene of dreaming moments.

A room of pastels awaited them at journey's end, a room in which the spirit could rest and expand.

In the expanse of the room, though I was quite still, I felt my soul begin a ballet dance.

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How to Describe an Apartment in a Story

By A.W. Naves

Are you writing an apartment setting? This post on how to describe an apartment in a story will help you! Read on to learn how you can add description to your fictional apartment through the use of the following 10 words.

Providing a feeling of comfort , warmth, and intimacy.

“She snuggled up in the cozy apartment, surrounded by soft blankets and dimmed lighting.”

“The cozy atmosphere of the apartment made him feel instantly at ease.”

How it Adds Description

The word “cozy” evokes comfort and warmth, transforming an apartment into a haven of tranquility. It invites your character to experience a sense of security and relaxation, offering respite from the outside world’s trials. Your character’s conflicts and struggles away from home make the “cozy” apartment a place of solace for them.

Having an old-fashioned appearance.

“My father’s new apartment was filled with quaint furniture and vintage decorations.”

“The quaint apartment sat atop her clothing shop, its front balcony overlooking the picturesque town square below.”

When you describe an apartment as “quaint” in your story, it gives the impression that the character living there has a fondness for the past or has an appreciation for unconventional and unique styles. The apartment’s quaintness can reveal a lot about the character’s personality and backstory, highlighting their specific tastes or sentimental attachment to earlier times.

3. Dilapidated

In a state of disrepair or ruin due to age or neglect.

“The paint was peeling, and the furniture was worn in the dilapidated apartment she rented after getting her first real job.”

“She couldn’t believe someone lived in such a dilapidated place, but Sam didn’t seem to mind his shoddy little apartment in the least.”

“Dilapidated” is a word that describes an apartment that is in poor condition. It’s a place that has been neglected and is falling apart. Imagine a character living there who’s having money troubles or finding it hard to keep their living space in good condition. The run-down state of the apartment could symbolize the character’s hardships or show a sense of despair.

Full of energy , excitement, or activity.

“The lively apartment was filled with laughter and music, creating a vibrant atmosphere.”

“The bustling cafes and colorful street art located near her lively apartment led to a steady stream of unexpected visitors, but she loved their company.”

Using the word “lively” is about creating an atmosphere that’s full of life, energy, and excitement. The character who calls this place home is outgoing, social, and thrives in a bustling environment. This liveliness plays a significant role in shaping the character’s experiences. You can use this description to give them a sense of belonging or spark their creative juices.

Calm, peaceful , and untroubled.

“She found solace in the serene apartment, surrounded by plants and soft lighting.”

“The view from the rooftop garden revealed a lush landscape that matched the vibe of the serene apartment he inhabited below it.

The word “serene” paints a picture of pure tranquility and peace in your character’s apartment. Picture someone who craves a calm and soothing atmosphere, as an escape from a chaotic life. The serene vibe of the apartment can play a role in shaping your character’s journey. It could give them a special space for self-reflection, unwinding, and even healing.

Uncomfortably small or restricted in space.

“The cramped apartment felt claustrophobic, with barely enough room to move around.”

“Living in such a cramped space was starting to take its toll on her mental well-being.”

Describing an apartment as “cramped” demonstrates that is doesn’t have enough space. Your character may feel physically uncomfortable and frustrated because there’s no room to move about freely. This cramped place could affect their mood, relationships, or their daily routine. They might start seeking a bigger place or thinking of other ways to deal with the problem.

Fashionable , modern, or tastefully presented in appearance.

“The apartment’s stylish decor showcased a blend of contemporary and vintage elements.”

“She was known for her impeccable taste and always managed to create a stylish living environment.”

If your character lives in a “stylish” apartment, we can assume it is very appealing from a visual standpoint. The inhabitant has a great sense of fashion and design. Such a sense of style can show readers that your character is someone who pays attention to intricate details, cares about what others think of them or simply appreciates beauty and elegance.

8. Eclectic

Composed of a variety of styles , themes, or sources.

“The apartment’s eclectic furnishings showcased a mix of vintage, modern, and cultural elements.”

“He loved the eclectic apartment he found hidden among the diverse restaurants and shops of the quirky little town.

Use “eclectic” to portray an apartment that has a random display of mismatched styles. Such a place would house a character who is open-minded, appreciates various cultures, or has a love for combining assorted styles and influences. This environment can inspire their creativity, fuel their curiosity, and let them express themselves freely in a way that aids your plot.

9. Spacious

Having ample room, open and not crowded .

“The spacious apartment boasted high ceilings and generous living areas.”

“She felt a sense of freedom in the spacious apartment, allowing her thoughts to roam.”

“Spacious” indicates openness and roominess in the apartment where your character lives. It suggests that your character values freedom of movement, loves having people over, or enjoys having enough room for their hobbies. The spacious environment may impact your character’s mood and behavior by making them feel unrestricted or sparking a sense of potential.

Contemporary ; characteristic of the present or recent times.

“The apartment’s modern design featured state-of-the-art technology and appliances.”

“The modern apartment’s minimalist aesthetics were a selling point for her client, who loved the glass and stainless-steel accouterments.”

A character who lives in a “modern” apartment embraces the latest trends and stays up to date on innovative technology. It’s a useful way for you to show their preferences, interests, or social status. Adding a modern touch adds a sense of sophistication to the plot, highlighting the character’s connection to the current scene, their adaptability, or their craving for a progressive lifestyle.

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Writing activity: describe a living room.

The Room in Which Shakespeare Was Born 1853 Henry Wallis 1830-1916 Purchased 1955 http://www.tate.org.uk/art/work/T00042

As a writing exercise, describe your own living room, or the living room of someone you know. For inspiration, I offer the following examples from literature.

EXAMPLE OF A LIVING ROOM DESCRIBED BY DAPHNE DU MAURIER

We were all sitting in the long, low room at Farthings, darker than usual because of the rain . The french windows gave very little light, chopped as they were in small square panes that added to the beauty of the house from without , but inside had all the appearance of prison bars , oddly depressing . The grandfather clock in the corner ticked slowly and unevenly; now and again it gave a little cough , hesitating momentarily, like an old man with asthma , then ploughed on again with quiet insistence. The fire in the basket grate had sunk rather low; the mixture of coke and coal had caked in a solid lump, giving no warmth; and the logs that had been flung carelessly on top earlier in the afternoon smouldered in dull fashion, needing the bellows to coax them into life. The papers were strewn about the floor, and the empty cardboard covers of gramophone records were amongst them, along with a cushion that had fallen from the sofa. These things may have added to Charles’s irritation. He was an orderly man, with a methodical mind . from the opening scene of The Parasites by Daphne du Maurier, 1949.

In the short passage above du Maurier conveys a lot of information.

French artist Monique Valdeneige creates living spaces remarkable for their labyrinthine feel. A single view offers glimpses into various parts of the house, aided by the use of mirrors.

Are there living creatures in this living room? What about living creatures we don’t necessarily see at first?

EXAMPLE OF A LIVING ROOM DESCRIBED BY ALICE MUNRO

Grant caught sight of two layers of front-window curtains, both blue, one sheer and one silky, a matching blue sofa and a daunting pale carpet, various bright mirrors and ornaments. […]

Kitchens are great because everything in them feels symbolic. Knives are especially foreboding, even if they’re not used to murder anyone in the end.

On the kitchen counters there were all sorts of contrivances and appliances—coffeemaker, food processor, knife sharpener , and some things Grant didn’t know the names or uses of. All looked new and expensive, as if they had just been taken out of their wrappings, or were polished daily.

The viewpoint character’s response segues nicely from the thumbnail description, telling us more about him:

He thought it might be a good idea to admire things. He admired the coffeemaker she was using and said that he and Fiona had always meant to get one. This was absolutely untrue—Fiona had been devoted to a European contraption that made only two cups at a time.

“They gave us that,” she said. “Our son and his wife. They live in Kamloops. B.C. They send us more stuff than we can handle. It wouldn’t hurt if they would spend the money to come and see us instead.” Grant said philosophically, “I suppose they’re busy with their own lives.” “ The Bear Went Over The Mountain ” by Alice Munro

My favourite detail comes further down, when Munro describes an ordinary kitchen object in gruesome terminology:

She poured the coffee into two brown-and-green ceramic mugs that she took from the amputated branches of a ceramic tree trunk that sat on the table.

A LIVING ROOM DESCRIBED BY MARGARET ATWOOD

The sitting room is subdued, symmetrical; it’s one of the shapes money takes when it freezes. Margaret Atwood

EXAMPLE OF A LIVING ROOM DESCRIBED BY KENNETH GRAHAME

The floor was well-worn red brick, and on the wide hearth burnt a fire of logs, between two at tractive chimney-corners tucked away in the wall, well out of any suspicion of draught. A couple of high-backed settles, facing each other on either side of the fire, gave further sitting accommodations for the sociably disposed. In the middle of the room stood a long table of plain boards placed on trestles, with benches down each side. At one end of it, where an arm-chair stood pushed back, were spread the remains of the Badger’s plain but ample supper. Rows of spotless plates winked from the shelves of the dresser at the far end of the room, and from the rafters overhead hung hams, bundles of dried herbs, nets of onions, and baskets of eggs. It seemed a place where heroes could fitly feast after victory, where weary harvesters could line up in scores along the table and keep their Harvest Home with mirth and song, or where two or three friends of simple tastes could sit about as they pleased and eat and smoke and talk in comfort and contentment. The ruddy brick floor smiled up at the smoky ceiling; the oaken settles, shiny with long wear, exchanged cheerful glances with each other; plates on the dresser grinned at pots on the shelf, and the merry firelight flickered and played over everything without distinction. The Wind In The Willows

Badger’s living area is a sitting-room kitchen combo. As the description wears on, Grahame makes use of personification to bring the crockery to life. Live objects in the home was a popular Edwardian trope in children’s literature. Here it serves the purpose of contrasting the safe and cosy Badger’s sette with the faces Mole observed watching him in the dangerous, dark Wild Wood surrounding them.

See “Broke” by Samm Henshaw , a music video on YouTube

Header painting: Henry Wallis – The Room in Which Shakespeare Was Born 1853

CONTEMPORARY FICTION SET IN AUSTRALIA AND NEW ZEALAND (2023)

Now his beloved uncle has died. An intensifying fear manifests as health anxiety, with night terrors from a half-remembered early childhood event. To assuage the loneliness, Sam embarks on a Personal Happiness Project:

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

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

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

Here’s how to describe buildings in writing:

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

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

1. By Historical Period

Table of Contents

Different historical periods offer a plethora of architectural designs.

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

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

Some historical periods to consider are:

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

2. By Material

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

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

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

Examples of materials :

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

3. By Height

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

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

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

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

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

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

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

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

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

5. By Function

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

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

Examples of functions :

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

6. By Atmosphere

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

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

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

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

7. By Surroundings

Buildings don’t exist in isolation.

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

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

Context, in essence, is a silent storyteller.

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

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

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

8. By Color

Colors are a palette of emotions.

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

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

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

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

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

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

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

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

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

10. By Architectural Style

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

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

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

Examples of architectural styles :

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

11. By Cultural Influences

Every culture has its distinct architectural imprints.

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

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

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

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

12. By State of Repair

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

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

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

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

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

13. By Decorative Elements

Details matter.

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

Examples of decorative elements :

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

14. By Lighting

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

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

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

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

15. By Acoustics

Beyond the visual, what does a building sound like?

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

Acoustics can also serve as indicators.

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

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

16. By User Experience

How does one navigate or experience the building?

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

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

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

17. By Integration with Nature

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

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

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

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

18. By Innovations or Anachronisms

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

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

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

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

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

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

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

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

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

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

21. By Ornamentation and Artistry

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

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

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

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

22. By Patronage or Ownership

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

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

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

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

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

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

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

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

24. By Social and Economic Status

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

Mansions, penthouses, and gated communities often exude opulence.

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

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

25. By Sensory Appeal

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

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

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

26. By Folklore or Legend

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

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

Such tales add depth, intrigue, and cultural context.

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

27. By Climate Adaptation

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

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

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

28. By Relation to Other Structures

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

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

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

29. By Adaptive Reuse

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

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

Transformations show the evolving narratives of buildings.

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

30. By Emotional Resonance

How does a building make one feel?

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

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

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

31. By Historical Events

Many buildings carry the weight of significant historical events.

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

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

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

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

32. By Foundation

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

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

Different terrains require different types of foundations.

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

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

33. By Roof

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

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

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

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

34. By Landscape Integration

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

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

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

35. By Socio-political Context

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

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

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

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

36. By Architectural Philosophy

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

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

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

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

37. By Spiritual or Religious Significance

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

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

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

38. By Reflection of the Times

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

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

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

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

39. By Personal Stories and Anecdotes

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

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

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

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

40. By Flooring

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

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

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

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

41. By Urban vs. Rural Setting

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

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

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

42. By Ecological Impact

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

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

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

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

43. By Underground Space

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

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

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

44. By Human Interaction

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

Are its halls always crowded?

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

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

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

45. By Technological Advancements

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

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

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

46. By Adaptability and Flexibility

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

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

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

47. By Fragrance and Aroma

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

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

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

48. By Security Features

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

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

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

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

49. By Mystique and Legends

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

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

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

50. By Seasons and Weather

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

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

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

51. By Movement and Dynamics

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

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

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

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

52. By Proportions and Geometry

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

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

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

53. By Hidden or Secret Elements

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

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

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

54. By Time of Day

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

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

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

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

55. By Parking

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

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

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

Parking is a functional aspect that often gets overlooked.

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

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

56. By What Is Missing

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

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

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

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

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

57. By Literary Genre

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

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

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

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

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

50 Words to Describe Buildings

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

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

25 Phrases to Describe Buildings

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

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

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

Three Full Building Descriptions

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

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

The Old Manor House

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

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

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

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

Pinnacle Tower

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

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

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

Lilac Cottage

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

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

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

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

Final Thoughts: How to Describe Buildings in Writing

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

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

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

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

Related Posts:

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

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Novel writing ,

How to write descriptions and create a sense of place.

By Harry Bingham

Your first job as a storyteller is a simple one, and a crucial one. You have to get your passengers into your train – your readers into your story. Only then can you hope to transport them.

And that crucial first step doesn’t have much to do with characters or story or anything else.

What matters first is this: your fictional world has to seem real. It has to grip the reader as intensely as real life – more intensely, even.

Writing descriptions that  seem  vivid, with the use of evocative language, is therefore essential. The buildings, cities, places, rooms, trees, weather of your fictional world have to be convincing  there . They have to have an emphatic, solid, believable presence.

A big ask, right? But it gets harder than that.

Because at the same time, people don’t want huge wodges of descriptive writing. They want to engage with characters and story, because that’s the reason they picked up your book in the first place.

So your challenge becomes convincing readers that your world is real . . . but using only the lightest of touches to achieve that goal.

Not so easy, huh?

Start Early

Set the scene early on – then nudge.

It may sound obvious but plenty of writers launch out into a scene without giving us any descriptive material to place and anchor the action. Sure, a page or so into the scene, they may start to add details to it – but by that point it’s too late. They’ve already lost the reader. If the scene feels placeless at the start – like actors speaking in some blank, white room – you won’t be able to wrestle that sense of place back later.

So  start early .

That means telling the reader where they are in a paragraph (or so), close to the start of any new scene. That early paragraph needs to have enough detail that if you are creating a coffee shop, for example, it doesn’t just feel like A Generic Coffee Shop. It should feel like its own thing. One you could actually walk into. Something with its own mood and colour. One vivid descriptive detail will do more work for you than three worthy but colourless sentences.

And once, early in your scene, you’ve created your location, don’t forget about it. Just nudge a little as you proceed. So you could have your characters talking – then they’re interrupted by a waitress. Then they talk (or argue, or fight, or kiss) some more, and then you drop in some other detail which reminds the reader, “Yep, here we still are, in this coffee shop.”

That’s a simple technique, bit it works every time.

One paragraph early on, then nudge, nudge, nudge.

As the roughest of rough guides, those nudges need to happen at least once a page – so about every 300 words. If it’s natural to do so more often, that’s totally fine.

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Be Specific

Details matter! They build a sense of place like nothing else.

Gabriel García Márquez, opening  One Hundred Years of Solitude , introduces his village like this:

Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs.

Boom! We’re there.

In his world. In his village. Already excited to see what lies ahead.

And yes, he’s started early (Chapter 1, Page 1, Line 1). But it’s more than that, isn’t it? He could have written something like this:

Macondo was a village of about twenty houses, built on a riverbank.

I hope it’s obvious that that sentence hardly transports us anywhere. It’s too bland. Too unfocused. Too generic. There are literally thousands of villages in the world which would fit that description.

In short, what makes Marquez’s description so vivid is its use of telling detail. They’re not just houses, they’re  adobe  houses. The river doesn’t just flow over stones, its flows over  polished stones  that are  white and enormous, like  (wow!)  prehistoric eggs .

The sentence works so well because Marquez has:

• Created something totally non-generic
• Via the use of highly specific detail, and
• Uses surprising / exotic language to make those details blaze in our imagination.

That basic template is one you can use again and again. It never stales. It lies at the heart of all good descriptive writing.

So here, for example, is a more ‘boring’ space . . . but still one redolent with vividness and atmosphere thanks to the powerful use of atmospheric specificity. In Margaret Atwood’s  The Handmaid’s Tale , Offred introduces her room with details that not only grab us but hint at something dark:

A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath and in the centre of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier once. They’ve removed anything you could tie a rope to.

Those clipped words transport us straight to Offred’s enclosed, and terrifying, space. We’re also told just enough to give us an image of that place, enough to heighten tension, enough to tease curiosity. This is just a description of a room – but we already feel powerfully impelled to read on.

Be Selective With Your Descriptive Details

Be selective – don’t overwhelm.

It might be tempting to share every detail with us on surroundings.

Even with a setting like Hogwarts – a place readers really do want to know all the hidden details of – J.K. Rowling doesn’t share how many revolving staircases it has, how many treasures in the Room of Requirement, how many trees in the Forbidden Forest. That’s not the point. (And it would write off a little of Hogwarts’ magic and mystery.)

If you’re describing a bar, don’t write:

The bar was approximately twenty-eight feet long, by perhaps half of that wide. A long mahogany bar took up about one quarter of the floor space, while eight tables each with 4 wooden chairs occupied the remaining area. There were a number of tall bar stools arranged to accommodate any drinker who didn’t want to be seated at one of the tables. The ceiling height was pleasantly commodious.

That’s accurate, yes. It’s informative, yes. But it’s bland as heck.

The reader doesn’t want information. They want atmosphere. They want vivid language. They want mood.

Here’s an alternative way to describe a bar – the Korova Milk Bar in  A Clockwork Orange.  This description delivers a sense of intimacy and darkness in a few words:

The mesto [place] was near empty … it looked strange, too, having been painted with all red mooing cows … I took the large moloko plus to one of the little cubies that were all round … there being like curtains to shut them off from the main mesto, and there I sat down in the plushy chair and sipped and sipped

We’re told what we need to know, thrown into that murky Korova atmosphere and Burgess moves the action on. All we really have in terms of detail are those mooing red cows, some cubies (curtain booths?), and a plushy chair. There’s lots more author Anthony Burgess could tell us about that place. But he doesn’t. He gives us the  right  details, not all the details.

And if that’s not enough for you, then try reading  this .

Write For  All  The Senses

You have a nose? So use it.

Visuals are important, but don’t neglect the other senses. Offering a full range of sensory information will enhance your descriptive writing.

Herman Melville, say, describes to us the chowder for the ship’s crew in  Moby Dick : ‘small juicy clams, scarcely bigger than hazel nuts, mixed with pounded ship biscuits and salted pork cut up into little flakes.’ Such descriptions are deft, specific, and brilliantly atmospheric. Where else but on board a nineteenth century American whaler would you get such a meal? By picking out those details, Melville makes his setting feel vibrantly alive.

Here’s another example.

Joanne Harris’ opening of  Chocolat  plays to readers’ senses, as we’re immersed straightaway in the world of her book through scent, sound and sight:

We came on the wind of the carnival. A warm wind for February, laden with the hot greasy scents of frying pancakes and sausage and powdery-sweet waffles cooked on the hotplate right there by the roadside, with the confetti sleeting down collars and cuffs and rolling in the gutters .

These non-visual references matter so much because sight alone can feel a little distant, a little empty.

By forcing the reader’s taste buds to image Melville’s clams or Harris’s pancakes – or making the reader feel that warm February wind, the confetti ‘sleeting’ down collars – it’s almost as though the writers are hauling the readers’ entire body into their scenes.

That’s good stuff: do likewise.

(And one easy test: take one of your scenes and highlight anything that references a non-visual sense. If you find some good references, then great: you’re doing fine. If not, your highlighter pen remains unused, you probably want to edit that scene!)

Get Place And Action Working Together

That’s where the magic happens!

Use the atmospheric properties of a place to add to other properties of the scene. That doesn’t mean you should always play things the obvious way: no need for cliché;.

You can have declarations of love happen in idyllic meadows, as in  Twilight  by Stephenie Meyer, but why not at a bus stop in the rain? Shouted over the barriers at a train station?

Your character also brings one kind of mood to the scene, and the action that unfolds will bring other sensations.

Lynda La Plante’s crime novel  Above Suspicion  makes a home setting frightening after it becomes obvious a stranger has been in protagonist DS Anna Travis’ flat, and she’s just been assigned to help solve her first murder case.

So the place is influenced by action, once Anna notices:

Reaching for the bedside lamp, she stopped and withdrew her hand. The photograph of her father had been turned out to face the room. She touched it every night before she went to sleep. It was always facing towards her, towards the bed, not away from it. … In the darkness, what had felt safe before now felt frightening: the way the dressing-table mirror reflected the street-light through the curtains and the sight of the wardrobe door left slightly ajar.

Here a comfy, nondescript flat becomes a frightening place, just because of what else is going on. Go for unfamiliar angles that add drama and excitement to your work.

Descriptions As Active Characters

You know the way that a place can turn on you? So (for example) a place that seems safe can suddenly reveal some other side, seem menacing, then almost try to harm the character.

That’s an incredibly powerful way to build descriptive writing into your text – because it feels mobile, alive and with a flicker of risk. You can use  plotting techniques  to help structure the way a reader interacts with a place: starting with a sense of the status quo, then some inciting incident that shifts that early stability, and so on. The inciting incident can be tiny – discovering that a photo frame has been moved, for example.

Having your characters voice their perceptions of a place in  dialogue  also adds to its dramatic impact, because now the reader sees place both through the eyes of a narrator and through the eyes of the characters themselves. Good, huh?

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We’ve made the offer as rich as we know how to – and made it incredibly affordable too. You can find out  more about our club here . Remember: we were founded by writers for writers – and we created this club for you. Do find out  more … and we’d absolutely love it if you chose to join us.

Free Character Builder

This free worksheet will help you write multi-dimensional, believable characters that leap off the page.

Use Unfamiliar Locations

And smart research ALWAYS helps.

Using unfamiliar settings adds real mood and atmosphere.

Stephenie Meyer, when writing  Twilight , decided she needed a rainy place near a forest to fit key plot elements.

Like protagonist Bella, she was raised in Arizona, but explained the process of setting  Twilight  in an unfamiliar setting on her  blog :

For my setting, I knew I needed someplace ridiculously rainy. I turned to Google, as I do for all my research needs, and looked for the place with the most rainfall in the U.S. This turned out to be the Olympic Peninsula in Washington State. I pulled up maps of the area and studied them, looking for something small, out of the way, surrounded by forest. … In researching Forks, I discovered the La Push Reservation, home to the Quileute Tribe. The Quileute story is fascinating, and a few fictional members of the tribe quickly became intrinsic to my story.

As her success has shown, it’s possible to write successfully about a place you don’t know, but you must make it your business to know as much as you can about it. (Or if you’re writing a fantasy or sci-fi novel, plan your world down to its most intricate details.)

And to be clear: you’re doing the research, not because you want that research to  limit  you. (Oh, I can’t write that, because Wikipedia tells me that the river isn’t as long / the forest isn’t as thick / or whatever else.)

On the contrary:

You are doing the research, because that research may inspire and stimulate a set of ideas you might not have ecountered otherwise .

The key thing is to do your research to nail specifics, especially if they are unfamiliar, foreign, exotic.

Just read how Tokyo is described in Ryu Murakami’s thriller  In the Miso Soup :

It was still early in the evening when we emerged onto a street in Tsukiji, near the fish market. … Wooden bait-and-tackle shops with disintegrating roofs and broken signs stood next to shiny new convenience stores, and futuristic highrise apartment complexes rose skyward on either side of narrow, retro streets lined with wholesalers of dried fish.

There’s authenticity, grit to this description of Tokyo, as opposed to using ‘stock’ descriptions that could apply to many modern cities.

Note this same thing with foods: in Japan, your protagonist could well be eating miso soup, as per Ryu Murakami.

Or say if your story was set in Hong Kong, you might write in a dai pai dong (a sort of Chinese street kitchen), something very specific to that city if you’re describing a street there.

Alternatively, if you are setting something in the past, get your sense of place right by doing your research right, too.

In historical novel  Girl with a Pearl Earring  by Tracy Chevalier, set in Holland in 1664, maid Griet narrates how artist Johannes Vermeer prepares her for her secret portrait, musing, to her horror, that ‘virtuous women did not open their mouths in paintings’.

That last is just a tiny detail, but Griet’s tears show us how mortified she is. Modern readers won’t (necessarily) think about seventeenth-century connotations like this, so if you’re writing a scene set in a very different era or culture to what you know, research so you’re creating a true sense of place.

Use Place To Create Foreshadowing

A brilliant technique – we love it!

Descriptions of place are never neutral.

Good writers will, in overt or gently subtle ways, introduce a place-as-character. If that character is dangerous, for example, then simply describing a place adds a layer of foreboding, foreshadowing, to the entire book.

Just read how J.R.R. Tolkien describes the Morannon in  The Two Towers : ‘high mounds of crushed and powdered rock, great cones of earth fire-blasted and poison-stained … like an obscene graveyard.’ It’s obvious from this description trouble lies ahead for Frodo Baggins and Sam Gamgee.

But even if you’re not writing this sort of fantasy, character psychology and plot (as we saw above) can also render seemingly harmless places suspect, too. A boring apartment in  Above Suspicion  becomes scary when it seems someone’s been inside.

In the same sense, we thrill to the sense of a place with excitement and promise, too, like when Harry makes his first trip to Diagon Alley (in  Harry Potter and the Philosopher’s Stone ) to shop for Hogwarts equipment with Hagrid.

There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon. … They bought Harry’s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk.

Just weave place and action together like this to create atmosphere, excitement, tension, foreboding.

Think About Your Words – Nouns And Adjectives

Specific is good. Unexpected is great!

One final thought. When you’ve written a piece, go back and check nouns.

A bad description will typically use boring nouns (or things) in settings, i.e. a table, chair, window, floor, bar, stool, etc.

If you try to fluff up that by throwing in adjectives (i.e. a grimy table, gleaming window, wooden floor), the chances are you’ll either have (i) made the description even more boring, or (ii) made it odd.

Of course, this works for that first passage we looked over from Margaret Atwood.

We sense Offred counting the few things she has in the little room she calls hers, the window and chair, etc., in terse phrasing. We sense her tension, her dissociation, and we feel trapped with her.

All the same, play with nouns, with taking your readers to new surroundings. Give them a Moloko. Play with surroundings, how you can make them different, how you can render the ordinary extraordinary. With the right nouns in place, you’ll need fewer adjectives to jazz things up – and when you do use them, they’ll feel right, not over the top.

Happy writing!

About the author

Harry has written a variety of books over the years, notching up multiple six-figure deals and relationships with each of the world’s three largest trade publishers. His work has been critically acclaimed across the globe, has been adapted for TV, and is currently the subject of a major new screen deal. He’s also written non-fiction, short stories, and has worked as ghost/editor on a number of exciting projects. Harry also self-publishes some of his work, and loves doing so. His Fiona Griffiths series in particular has done really well in the US, where it’s been self-published since 2015. View his website , his Amazon profile , his Twitter . He's been reviewed in Kirkus, the Boston Globe , USA Today , The Seattle Times , The Washington Post , Library Journal , Publishers Weekly , CulturMag (Germany), Frankfurter Allgemeine , The Daily Mail , The Sunday Times , The Daily Telegraph , The Guardian , and many other places besides. His work has appeared on TV, via Bonafide . And go take a look at what he thinks about Blick Rothenberg . You might also want to watch our " Blick Rothenberg - The Truth " video, if you want to know how badly an accountancy firm can behave.

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How to Describe a Room in English

You might have to describe a room in English.

The most likely situation for doing this would be in the speaking part of the IELTS test. But it could also be in any other speaking or writing test too.

But it is also just a great exercise for you to improve your general English. Being able to describe anything in English shows you have a good command of the English language.

But where to begin?

How to do it? Where to start?

I am here to show you how.

So let’s get started.

Table of Contents

When describing anything — could be an object, a person, a building or a city — you should always start with the basic components.

In the case of describing a room that means you should think of the following questions:

What kind of room is it?

What size is it?

What shape is it?

Let’s go through the questions one by one.

What Kind of Room

In a normal house we have:

Living room

There could also be:

Dining room

Garden shed

For the sake of simplicity, we will use living room as our example.

The mistake that many students make when talking about the size of something is that they often try to be very precise. They might say something like: It is 6 metres long and 3 and a half metres wide, so that is 21 square metres in size.

You don’t need to talk like this. Not unless your job requires that you are exact. But most people have no idea how big the rooms are in their home.

So you can use words to describe the size. Like this:

My living room is pretty big

The living room is huge

My living room is about normal size

It is tiny!

It’s a bit small

It’s kind of big/small

Now does this say anything about the size of the room? Not really.

These terms are relative to the person speaking. So if you say My living room is really small . I might think it is small but if I saw it, I might think it’s average size.

It doesn’t matter.

If you use size words — big, huge, tiny, small — the examiner listening to you has a mental picture of how big the room is. It is enough for him to have an idea of what you are talking about.

Rooms generally come in two shapes:

Rectangle/oblong

So you can say:

The living room is a rectangle shape      

It is shaped like a square

Put It All Together

So if you combine all three of these elements — what kind of room, what size and what shape — you could have something like this:

The room I want to talk about is the living room. It’s pretty big, maybe the biggest room in the whole house. It’s shaped like a rectangle.

I would like to talk about the living room in my home. It’s like a normal-sized room I suppose and it’s rectangular in shape.

Our living room is kind of small. It’s a rectangle shape just like most rooms in people’s houses.

So that is the basics — what kind of room it is, the size and the shape.

When you say something like this, you are providing a good introduction to the room you are going to talk about.

Then you can go into more detail.

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The Details

When we talk about the details of a room, it means we talk about the following:

The Colour Scheme

The furniture.

The Window and the View

Most living room decorations are designed to make the family feel comfortable and at ease in their own home.

You could describe the decor as being:

Clean-looking

Comfortable

Old-fashioned

Traditional

Western-style

Asian-style

And that could be enough.

The examiner is not expecting you to describe all the features of the decor in the living room. There may be certain elements or features in your living room that stand out.

So you may have a large painting on the wall — if so, then you can describe the painting and say who bought the painting.

For example:

We have a painting of two dogs on the wall of our living room. The dogs walking in a field somewhere and it looks like an old painting but it is not.

My mum bought it in a local shop because she liked the look of it and wanted to have a painting on the wall to make it look less boring.

Or maybe you have a piano in the room:

My mum and dad bought a piano years ago because they wanted me to learn when I was a child. But I was never any good at playing the piano so it just sits there.

It’s more for decoration now.

Are you talking about the painting, the piano or the living room?

You are talking about the living room. The painting and the piano are part of the living room and the little stories you tell about these things are all part of your talk.

In this part, you just talk about the main colour of the room.

Most living rooms are white so just say that.

The living room is white.

There may be other colour elements in the living room but you need to say the main, most important colour first.

Don’t say something like My living room is white, red, green, purple and black.

Your living room may have other colour elements but you need to describe those elements. Don’t just reel off a list of colours!

So you could say:

The living room is white but the window frames are dark red.

Our living room is white but one wall is painted light green.

This is where you can go into more detail.

Let’s look at the main furniture items in people’s living rooms.

Coffee table/tea table

TV stand/TV

Bookshelf/Bookcase

Painting/Mirror

These cover the main kinds of furniture that people have.

And this is how you can talk about these things:

We have a big sofa in the living room. It’s dark blue and made of some kind of soft fabric — I’m not sure what it is. But it is very comfortable. Sometimes I like to lie on the sofa and listen to music or read a book.

The sofa in my living room is made of leather and it’s white. My mother always worries about it being clean enough. We sit on it when we want to watch the TV.

And again, if you talk about the things you like to do on the sofa — watching TV, reading a book — this is still part of your talk about the living room.

You can say similar things about an armchair:

My dad likes to sit in the armchair. He watches the news on TV then falls asleep.

Sometimes our cat jumps on to the armchair. My mum gets very angry about this.

Then you can talk about things like the coffee table and floor lamp.

We have a coffee table in the living room. It’s between the sofa and the TV. We out drinks on it and snacks we are eating. We also keep the TV remote on it. It’s a wooden table but has a glass top so it is easy to keep clean.

The floor lamp is next to the sofa. The light is softer than the ceiling light so it is more comfortable in the evening.

Then curtains:

The curtains are light grey. We keep them open during the day and close them at night. We close them and we have more privacy in the evening.

TV Stand/TV:

We have a big flat-screen TV in the living room. It is on top of a large TV stand. We can put other things on the stand too.

My mum has a little figure of a horse on the stand.

Rug/Carpet:

There is a rug on the floor. It’s dark red and made of wool. It’s very comfortable under your feet in the evening.

My dad always complains if we put our shoes on it because it makes it dirty.

Bookshelf/Bookcase:

There is a bookshelf in the corner of the living room. It is full of books but mostly my mum and dad’s books. I keep my books in my own room.

But it makes the living room look nice. It’s nice to see shelves filled full of books. It makes the room seem warmer.

On the wall, we have a large mirror. My mum bought it in an antique shop. I think it was quite expensive.

It makes the room seem bigger because of the reflection.

My mum always uses it to check her hair before she goes outside.

These are just some simple ideas of things you can say about furniture in the living room.

You can say what each item is made of and the colour but you can also add little stories too. The examiner will always like to hear stories in the IELTS test.

Window and View

Lastly, you can talk about the window and the view outside.

You just say where the window is and the size of it. Then you say what you can see outside.

We have a large window at the end of the living room. When I look outside, I can see the houses opposite our own house. I can also see the road outside.

We have only one small window and I can barely see anything outside. Just a wall. But the window lets in some light.

And that covers the details of the living room.

Now you can talk about how you feel about the room.

Why do you like this room?

This is where many students miss some valuable thing to say in the IELTS test. Usually, they just say if they like something or not.

This is not enough . You need to say WHY you like something.

So with our example of the living room in your house, just think of all the reasons why you like your living room.

I have put some examples below:

I like the living room because it is usually quiet and I can just lie on the sofa and relax, read a book or listen to music.

I like our living room because it is so airy and light. It feels very bright in the room.

I like the view from the living room. We look out over a nice park.

I like the two paintings in our living room. They are portraits of people from long ago. I look at them and get lost in another world.

Saying what you like about something is very simple. Just say what you like and why you like it!

What do you dislike about this room?

Equally, you can say what you don’t like about the living room.

I have listed some ideas below:

I don’t like the living room because it is always noisy and filled full of people. It drives me mad as there is nowhere to sit and be quiet.

I don’t like the living room because my dad is always watching TV there. And he is always watching the news — it’s so boring!

I don’t like the living room because it is so hot in there. The sun shines right through the window and makes it too stuffy.

Just as when you talk about the reasons why you like the living room, it is just as important to talk about why you dislike it.

What do you do in this room?

And finally, you need to say the activities you like to do in the living room.

Let’s go through a list of things that many people do in the living room.

Talk to my family

Read a book

Watch a movie

Talk to my friends on the phone/online

Do my homework

Study something

When describing a room, you can definitely say the kind of things you like to do in the room. This is all part of the description of the room.

And by talking about things you do in the living room, this may lead to a little story and that is always helpful.

Let me give you an example from my own life:

I like to watch movies in the living room with my wife. But she only likes certain kinds of movies. If I select a movie, she usually thinks it is boring and asks me to change it.

But if we watch a movie we both like it is very relaxing. We eat snacks and drink hot tea while watching the movie.

Am I talking about watching movies or describing the living room?

And the examiner would like what I said and it would be great in the IELTS test.

That is about it.

Remember the format when describing the room.

The Details — the decor, the colour scheme, the furniture, the window and the view

Why do you dislike this room?

What do you like to do in this room?

Go through all of these things and you can’t go wrong.

Now why not try by yourself or with your friends?

You can choose the room you are in. Or go online and look at pictures of rooms you can find on the internet.

Just keep practising and you will see great results.

Good luck and let me know in the comments below!

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18 thoughts on “how to describe a room in english”.

This is great advice for students preparing for the IELTS test or for any English class or presentation. There is almost nothing better to hone your English than to describe things. It puts all the students’ skills and vocabulary to the test!

That’s good to know Leona! I plan to write a few more ‘describing things’ articles.

I DON’T KNOW what it is the meaning of IELTS, BUT you know what I like it in this IELTS is MORE HELPFUL to my FINAL REQUIREDMENT IN describing a room.

Hi Charlotte, many thanks for reading! IELTS means International English Language Testing System. Check this link for more info: https://www.ielts.org/what-is-ielts/ielts-introduction

Yes, this lesson is very good because as David says it may come up in the IELTS exam and students need to be prepared to talk about anything from many different angles.

Many thanks Leona!

It was really helpful Big thanks

You’re welcome, Ahmed!

It’s a wonderful presentation of my first class on: tell me something about your…….

Hi Morris, glad you liked it!

I admire you so much, sir. You spent your time and effort to help many people so that they’re good at English. Best wishes for you.

That is very kind of you to say so, Van! Best wishes to you too!

It is a very inspiring topic.

Hi Eirik! Many thanks! I hope it was useful to you.

I read almost all of your stuff, and I was extremely amazed with the guide. You are the best!

That is really good to hear, Eirik! I am so glad that you like what I write. Many thanks and have a great day!

You too! Good luck in the future, and I will be following you. 🙂

Many thanks, Eirik!

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Writing Nestling

How To Describe A House In Writing (11 Best Ways)

Describing a house in writing is more than just a portrayal of bricks and mortar; it’s an intricate art form, a literary journey through the architecture of imagination.

In this craft, writers have the power to create vibrant, evocative spaces that transcend mere physical descriptions and serve as living canvases for the stories they wish to tell.

Whether it’s a cozy cottage nestled in the heart of a forest, a grand mansion steeped in history, or a modern city apartment with all the trappings of contemporary life, the process of painting the house with words is an opportunity to evoke emotions, kindle memories, and transport readers into the very essence of a narrative.

This exploration, much like a tour through a house’s rooms, is a journey through the senses, an unraveling of histories, and a passage into the heart of storytelling itself.

In this guide, we will embark on a journey of understanding and mastering the art of describing a house in writing , encompassing all its intricate facets to bring vivid life to our stories.

Table of Contents

How To Describe A House In Writing

Describing a house in writing involves capturing its key features, atmosphere, and characteristics. Here’s a step-by-step process for doing so:

Select Your Perspective

Decide whether you are describing the house as an objective observer, a potential buyer, or someone with emotional ties to it. Your perspective will influence the tone and focus of your description.

Observe and Take Notes

Spend some time in and around the house, noting down its details. Pay attention to both the exterior and interior. Take notes on architectural elements, landscaping, and the overall condition.

Start with an Introduction

Begin your description with a captivating introduction. Mention the location, any unique historical or architectural aspects, and the overall vibe of the house.

Exterior Description

Describe the architectural style, such as Victorian, modern, colonial, etc. Mention the size and layout of the house, including the number of stories. Highlight any distinctive exterior features like a front porch, dormer windows, or a landscaped garden. Comment on the condition of the exterior – is it well-maintained or in need of repairs?

Interior Description:

Walk through each room, starting with the main living spaces. Describe the layout, size, and purpose of each room (kitchen, living room, bedrooms, etc.).Note any unique or standout features, like a fireplace, hardwood floors, or high ceilings.

Discuss the decor, paint colors, and overall interior design. Emphasize the lighting, natural and artificial, and how it contributes to the ambiance.

Atmosphere and Feel:

Discuss the overall atmosphere of the house. Is it cozy, spacious, elegant, or modern? Describe how it makes you feel or the emotions it evokes.

Mention any scents or sounds that are particularly notable, such as the scent of freshly baked cookies or the sound of a crackling fireplace.

Outdoor Features:

Include details about the yard, garden, or outdoor spaces. Discuss any amenities like a pool, patio, or outdoor kitchen. Note the views from different areas of the property.

History and Background:

If applicable, provide some historical or personal context. Has the house been in the family for generations, or is it a new construction with an interesting backstory?

Maintenance and Upkeep:

Mention the condition of the house, whether it’s well-maintained, in need of renovation, or recently updated.

Conclusion:

Summarize the key points of your description. Mention any standout features or elements that make this house unique. Convey your overall impression and whether you would recommend it to someone with specific preferences.

Proofread and Edit

After writing your description, proofread it for clarity, coherence, and grammar. Make any necessary revisions to ensure the text flows well.

By following these steps , you can create a comprehensive and engaging description of a house in writing, whether for a real estate listing, a personal project, or any other purpose.

Pre-writing Preparation

Pre-writing preparation is the enchanted gateway where your imagination takes its first exhilarating steps into the realm of creativity.

It’s your backstage pass to the show of words, where you gather sparks of inspiration, setting them alight like stars in the night sky of your mind.

With a mood board as your treasure map and the world as your canvas, you define the very purpose of your words, crafting a compass that will guide your reader through the uncharted terrain of your imagination.

In this ephemeral moment before pen meets paper or fingers touch keys, you are the architect of dreams, the weaver of tales, and the creator of worlds.

Observation and Note-Taking

Observation and note-taking are your secret agents in the espionage of reality, your magnifying glass in the quest for hidden treasures.

They’re like the watchful sentinels who stand guard at the gateway between your senses and your soul. As you venture into the world, they capture the minuscule whispers of the wind, the symphony of colors dancing in a sunset, and the delicate aroma of memories tucked in the corners of a room.

In their meticulous scribbles and sketches, you unearth the fossils of emotions and the jewels of detail, piecing together the puzzle of existence.

These notes are the breadcrumbs that lead you back to the forgotten realms of your experiences, and when the time comes to craft your tales, they transform into the keys unlocking the doors of enchantment for your readers.

Visit a real house or imagine one in detail

Whether you choose to visit a tangible, real house or conjure one from the ethereal fabric of your imagination, the journey is equally captivating.

Stepping into a real house is like embarking on an archaeological expedition, unearthing layers of history and stories embedded in its walls.

Each creaking floorboard and fading wallpaper tells a unique narrative, and your senses become detectives seeking clues to its past.

Conversely, when you create a house within your mind, you become an architect, fashioning every brick and beam with meticulous intention.

You have the power to construct a world from the ground up, shaping the very essence of your characters’ lives. Whether real or imagined, these houses are portals to parallel worlds, inviting you to explore the infinite possibilities of human experience and imagination.

Use all senses for a comprehensive description

To paint a truly immersive picture, one must employ all the senses, as they are the palette of life’s canvas. It’s not just about what the eye beholds; it’s the symphony of sensations that makes a description come alive.

The sight captures the grandeur of a house’s architecture, the play of colors, and the interplay of light and shadow. Sound brings us the rustle of leaves in the breeze or the creaking of a wooden floorboard. The subtle fragrances, both inviting and peculiar, breathe life into the atmosphere.

Touch reveals the texture of walls, the warmth of sunlight, and the coolness of marble floors. Even taste, though less common, can be evoked by describing the air’s flavor, or perhaps the lingering essence of a meal in the air.

When all these senses converge, a description transcends words and becomes an experience, transporting the reader into the very heart of the scene.

Organizing Your Description

Organizing your description is like composing a symphony of words, where you’re the conductor orchestrating the reader’s journey through the labyrinth of your imagination.

It’s the blueprint, the road map, the compass that ensures your storytelling ship sails smoothly through the unpredictable seas of prose.

Every carefully chosen word, each sensory detail, and every pause is a note in the grand opus of your description.

Your canvas is the reader’s mind, and you’re the master artist, crafting their visual and emotional experience. It’s not just about what you say, but how you say it, creating a literary choreography that dances through the reader’s senses, leaving an indelible footprint in their imagination.

Describing the Exterior

Describing the exterior of a house is like capturing the essence of a soul in architectural form. It’s the first impression, the handshake of the building with the world.

The exterior tells a story, whispering secrets of the past through the choice of materials, the lines and curves of its design, and the weathered patina of time.

Each brick, window, and shingle is a character in the drama of its existence, and the surrounding landscape is the stage upon which this architectural performance unfolds.

From the ornate grandeur of a Victorian mansion to the sleek, modern lines of a minimalist marvel, the exterior is a canvas where the artist of words paints an evocative masterpiece, inviting readers to wander through its living history.

Architectural style and historical context

Describing the architectural style and historical context of a house is like opening a time capsule of human ingenuity. It’s a journey through the annals of history, a glimpse into the tapestry of culture, and an exploration of the evolving language of design.

Architectural style speaks volumes about the era in which a house was born, whether it’s the Gothic spires of the medieval period or the sleek lines of mid-century modernism.

Each style is a chapter in the grand narrative of human civilization, embodying the values, aspirations, and artistic trends of its time.

As a writer, delving into historical context is like becoming an archaeologist, unearthing the buried treasures of a bygone age.

It’s a form of storytelling that breathes life into inanimate structures, giving them a voice that whispers the secrets of their creation and the echoes of those who once dwelled within their walls.

Setting and surroundings

The setting and surroundings of a house are the ever-shifting stage upon which the story of its existence unfolds.

They are the embrace of nature, the neighborhood’s heartbeat, and the silent witnesses to the ebb and flow of life.

Whether nestled in the tranquil solitude of a forest, standing proud in the heart of a bustling city, or perched on the edge of a windswept cliff, the setting and surroundings shape the house’s character and breathe life into its narrative.

The landscape, the neighboring structures, and the natural elements provide context, framing the house’s personality like a portrait.

It’s here that writers wield the power of description to transport readers to a specific time and place, immersing them in the atmosphere, and allowing them to feel the unique pulse of the world in which the house resides.

The setting is not just a backdrop; it’s a character in its own right, influencing the house’s story and enriching the reader’s journey through its vividly painted world.

Describing the Interior

Describing the interior of a house is like embarking on a journey through the corridors of the soul. It’s a magical odyssey where each room becomes a chapter, and every piece of furniture is a character with its own story to tell.

As a writer, you are an architect of emotions, a curator of ambiance, and a storyteller of human lives etched into the walls.

From the cozy, sunlit nooks where laughter and secrets are shared, to the dark, mysterious chambers hiding their enigmas, the interior is a symphony of textures, colors, and emotions.

With your words, you guide the reader through the labyrinth of emotions and memories, making them not just observers but participants in the unfolding drama of a house’s interior, where the past and present mingle in a beautifully chaotic dance of existence.

Entry and first impressions

The entry of a house is the portal to its soul, a threshold where the story of a home begins.

It’s the first chapter in the narrative of the interior, and much like the opening lines of a novel, it sets the tone for what lies beyond.

As the author of this description, you hold the power to guide the reader’s senses as they cross the threshold. The door, whether weathered and welcoming or imposing and ornate, is the guardian of secrets.

The lighting, whether dappled with warm sunshine or bathed in the cool glow of moonlight, casts a particular mood.

The decor, the scent, the arrangement of objects – all these elements come together to offer the reader their initial impression, like the first chords of a symphony.

The entry is where anticipation and curiosity blend, inviting readers to step deeper into the unfolding narrative of the house, each footfall echoing with the promise of discovery.

Character and personality of the interior

The character and personality of the interior are like the beating heart of a house, the very essence of its soul unveiled.

Every room is a chapter in the house’s unique story, and it carries its own distinct character. Whether it’s the cozy charm of a well-loved family room with threadbare sofas and walls adorned with cherished photographs, or the elegance of a meticulously designed library filled with leather-bound books and antique furniture, each space holds its own secrets and emotions.

The personality of the interior is a reflection of the people who have dwelled within its walls, their passions, and their idiosyncrasies.

As a writer, your words have the power to breathe life into these spaces, evoking the atmosphere, the history, and the emotions that have unfolded within them.

The interior of a house is a multi-dimensional character in itself, and it’s through your descriptive prose that it takes on a role, engaging readers and beckoning them to explore its depths, its quirks, and its undeniable allure.

Using Metaphor and Symbolism

Using metaphor and symbolism in writing is akin to infusing a tapestry of enigma and depth into the very fabric of your narrative.

It’s the literary equivalent of an artist applying layers of paint, revealing more than meets the eye. Metaphors are the breadcrumbs leading readers down a poetic path, allowing them to dance between the lines of reality and abstraction.

Symbolism, on the other hand, breathes life into the mundane, turning everyday objects and settings into gateways to deeper meanings.

These tools are the magic keys to the castle of imagination, granting access to hidden chambers of thought, emotion, and understanding.

Writers who wield metaphors and symbolism create a symbiotic relationship with their readers, inviting them to decode, interpret, and become an integral part of the storytelling experience.

The words become a world within themselves, teeming with secrets, revelations, and a symphony of resonating truths.

Dialogue and Character Interaction

Dialogue and character interaction in writing are like the intricate choreography of a dance, where the words become the elegant waltz of storytelling. It’s not just a means of communication; it’s the vibrant heartbeat of your narrative.

When characters engage in conversation, they reveal their true essence, their desires, and their vulnerabilities. Dialogue becomes the window to their souls, allowing readers to eavesdrop on the symphony of emotions and conflicts that course through the story.

The art of crafting dialogue isn’t just about the words spoken; it’s the unspoken sentiments, the silences pregnant with meaning, and the electricity that crackles in the air when characters collide.

As a writer, you are the conductor of this grand opera, orchestrating the verbal ballet that unravels the plot, deepens connections, and thrusts the reader into the tumultuous world of your characters.

In the dance of dialogue, you hold the power to make your characters breathe, laugh, cry, and love, drawing readers ever deeper into the rich tapestry of your narrative.

Highlighting how characters interact with the house

Characters and their interaction with the house are like a silent dialogue, a dance of emotions played out against the backdrop of architecture.

The way they navigate the hallways, touch the walls, or choose a particular spot to sit reveals their relationships, their histories, and their innermost thoughts. Each creaking floorboard, every beam of sunlight that catches their eye, becomes a reflection of their mood.

In a way, the house itself is a character, responding to their presence, bearing witness to their joys and sorrows. As a writer, you have the privilege of crafting these interactions, using them to illustrate the profound connection between the characters and their environment.

Whether it’s a comforting embrace or a source of tension, the house becomes more than bricks and mortar; it’s an essential part of the story, amplifying the drama and resonating with the emotions of those who inhabit it.

Emphasizing the house’s role in the narrative

The house in a narrative isn’t just a setting; it’s a living, breathing entity with a pivotal role to play. It’s more than bricks and beams; it’s a silent character, a reflection of the story’s soul.

The house often holds secrets, serves as a repository of memories, and even becomes a mirror to the characters’ inner worlds. It can be a sanctuary, a prison, or a puzzle to be unraveled.

The house’s architecture, history, and atmosphere can shape the plot, infusing it with mystery, nostalgia, or a sense of foreboding.

As a writer, emphasizing the house’s role is about crafting its presence in a way that makes it integral to the narrative’s progression.

It can be a catalyst for change, a witness to dramatic events, or a source of conflict. The house is more than walls; it’s a silent companion in the characters’ journey, a bearer of secrets, and an anchor in the storm of storytelling.

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

Why is it important to effectively describe a house in writing.

Describing a house in writing is crucial for creating immersive, emotionally resonant narratives. It provides readers with vivid imagery, sets the tone, and breathes life into the settings and characters.

How can I make my house descriptions more engaging and unique?

To make your descriptions stand out, consider the house’s historical context, architectural style, and the way it interacts with your characters. Utilize metaphors, symbolism, and sensory details to add depth and intrigue.

How do I balance descriptive prose with storytelling in house descriptions?

Striking a balance involves integrating descriptions into the narrative flow. Instead of overwhelming readers with details, make the descriptions relevant to the story, characters, or themes.

What should I keep in mind when describing the exterior of a house?

When describing the exterior, consider the house’s architectural features, historical context, surrounding environment, and how these elements contribute to the atmosphere of your story.

How can I effectively convey the character and personality of the interior in my writing?

Focus on the details that reflect the residents’ lives, emotions, and history. Describe the layout, furnishings, and ambiance, allowing readers to connect with the characters through the space.

Is it necessary to use metaphors and symbolism in house descriptions?

While not mandatory, metaphors and symbolism can add depth and layers to your descriptions. They can evoke emotions, connect to the story’s themes, and make the descriptions more engaging.

What role does the house play in a narrative, and how can I emphasize it effectively?

The house can be a character in itself, influencing the plot, and reflecting the characters’ journeys. To emphasize its role, ensure that it interacts with the story, the characters, and the themes in a meaningful way.

How can I ensure my house descriptions are not overly detailed or boring for readers?

To prevent excessive detail, consider your audience and purpose, and select relevant details that contribute to the atmosphere, plot, or character development. Engage beta readers for feedback to find the right balance.

Are there any resources or books to help me improve my skills in describing houses in writing?

Yes, numerous resources, books, and articles provide insights into descriptive writing. Some recommended reads include “The Elements of Style” by Strunk and White, and “The Descriptive Writer’s Guide” by James J. Cramer. Online writing communities and workshops can also offer valuable guidance.

Can you provide any tips for aspiring writers looking to master the art of describing houses in their stories?

Certainly! Start by practicing descriptive writing regularly. Be observant, research, and create mood boards for inspiration. Read books known for their descriptive prowess and seek feedback from peers to continually refine your skills. Writing is a journey, and mastering the art of description takes time and dedication.

Describing a house in writing is more than mere description; it’s an alchemical process that turns words into living spaces, and readers into explorers of the imagination.

Throughout this journey, we’ve uncovered the architectural wonders and emotional landscapes that a well-described house can unveil. We’ve seen how each room, each brick, and every scent carries significance, weaving into the narrative’s tapestry.

The house, be it a humble abode or a sprawling estate, becomes a silent character, a guardian of stories, and a vessel for the human experience.

As writers, we hold the keys to this mansion of creativity, and through the art of description, we open doors to entire worlds. So, as you embark on your own literary quests, remember the power of a well-described house to anchor, enchant, and resonate with your readers.

With every detail, you invite them to walk through the door and join you in the enchanting realm of your storytelling.

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Room Description? How?

Hello, lovelies!

So, giving a good description of anything in your story tends to give any author a mini heart attack. However, describing a room seems to be particularly difficult.

Writing tips often range from "be as detailed as possible" to "don't be detailed at all, it will bore your audience". Well, what are we supposed to do then?

The truth is, there isn't a single step-by-step way of bringing a room to life. It typically all depends on the author's own style and the genre they are writing in. You wouldn't use the same words to describe a cold, damp prison, as you would a cosy, little tea-shop, for example.

However, there are some techniques I have found in practise, that have been extremely helpful in my own writing. These can both give the audience a feel for the atmosphere the room is supposed to have, and give some concrete clues to what the room looks like.

So, I thought I would share them with you!

Whenever a reader is introduced to something new, particularly a new room, the easiest way to settle their imagination is to start narrowing down the space. This way, when you start adding things like furniture, colours and decorations, it will fit easier in their mind.

You don't need to add those things right after having described how big, wide, or tall the room is, however. Rather let those things come out as they become relevant to reader. I will address this further later on.

For shape, you don't necessarily have to add any descriptive words, since most rooms are either square or rectangle anyway. Only when the room defects from that, like round or triangular, is it handy for you to add the shape of the room, otherwise it may come across as either patronising or overbearing.

The size and height of the room is what will inform the reader the most in terms forming a basis of an image in their head. On top of that, depending on the wording you use, it's an ideal moment to give off whether the reader should feel comfortable or unsettled in this room.

For two short examples: if a room is small, the word 'tiny' or 'snug' is going to bring out a more positive reaction, as supposed to 'cramped' or 'suffocating', and if a room is tall, the word 'towering' is going to make the reader feel more overwhelmed than 'elevated'. So, if the character is meant to feel uneasy in this room, or is simply not in a good place mentally themselves, using words with more negative connotations to describe a room is a good way to illustrate that. The same goes for positive words if the character is meant to feel comfortable.

This works as an initial description if the furniture isn't overwhelmingly packing up the space or if the room isn't depressingly empty. However, if the furniture does have a deep effect on the room in terms of how it fills it up, that is what a character will most likely notice first.

This is an excerpt of the paragraph where I describe the dining room of the Girl House in my in-progress novel:

"Chipped, white paint on long rows of chairs on either side of an equally long table filled most of the long, narrow space, packed further by a stone fireplace on the right and a cabinet full to bursting with plates, cutlery and cups on the left. Not to be outdone, the top of the cream-coloured curtains were adorned by various bundles of holly and mistletoe, their bright red and white berries intertwining with the dried green of the leaves, scraping over the greyish brown-painted walls."

-Chapter 1. Morning Cinnamon

I chose to address the table here first, because not only did it tell something about how it affected the space around it, but it also led me easily into describing the rest of the things in the room, since it's the central piece of furniture.

However, had the table, or any other furniture, not been such an overwhelming presence, it would've been a better call to start describing the room as a long, slender room with a fireplace at the end, and then start describing what else the character sees in it.

So, first determine whether you want to start from the room size to what's inside, or start from the furniture, and allow that to tell the size of the room. This will mostly depend on which one will be most noticeable to the character.

In my own excerpt, I chose to immediately describe the rest of the scene in one fell swoop. However, that doesn't mean it works with everything, If a room is particularly detailed, or the character is sitting at an angle where only part of it is visible to them, it doesn't make sense to immediately describe everything. If a room is less hectic, and is in full view of the character, you can get away with it more.

Another reason to keep part of a room in the dark, is if there is something in there that's relevant to the plot that can't be discovered yet, and so it's not paid attention to. However, if room is needed for a couple of more scenes, and therefore has to be established to the reader already, it makes more sense to describe it fully. That was my reasoning for the way I wrote the excerpt above.

Colour and Light:

Similar to space, the way you describe colour and lighting is going to partially depend on the mood you are trying to convey, either because of the season, time of day, or just the general atmosphere.

Lighting especially plays a big part in this, since it will determine the shadow angles, what a character is able to see, and how dull or bright the material and colours are going to be visible to them. So, first decide what the light source in the room is going to be, in order to have a focus point. Then determine how strong the light source is, so you know its reach and how much of the room it will show. Finally, think of the warmth and colouring of the light, because this will act as a 'filter' of some sorts for what the room will look like to the reader and the characters. A small, flickering candle is going to make a room look a lot different to midday winter sunlight coming through floor-to-ceiling windows. So, make sure you have a clear image of what is causing the room to be visible.

The 'filter' of the lighting is going to influence the colours of walls and furniture to some extent as well, but more than anything, the colours and lighting are going to work together to form 'the aesthetic'. Any colour can be mixed with any lighting, but each combination is going to have its own atmosphere, which you can use to your advantage.

For example: the living room in the Girl House is first introduced when it is dark, meaning that the light source comes from the large fireplace. This gives me a filter of reddish orange light with a limited reach, so the furniture and ceiling are going to have a lot of long shadows. This works for me, because a ghost story is about to be told, and I can use the shadows to convey an unsettling mood. The walls here are already a warm, brown colour, because of the wood, so the colour warmth is amplified by the light filter. The same goes for the furniture, which are variations of faded red and brownish yellow.

However, had the colours been different, the mood and feel of the room would have been different as well. The already warm colours are both meant to give a sense of homeliness and cosiness, but also act as a contrast to the dark, freezing winter outside. If the colours were of a colder variety, like grey or blue, that contrast wouldn't be as strong, and the room may have a more calm or tranquil feel, as supposed to cosy. However, with the light from the fireplace, the colours also wouldn't be as pronounced, because of the clash of warm and cold.

So, if you want your room to have a pronounced feeling, make sure the lighting and colours both match the atmosphere of that feeling, and enhance each other. If you want it to be more muted, or even distorted, you can make the colours and light clash instead. This will help you bring out the atmosphere you want in a more practical way.

Surfaces, Smell, and Sounds:

Sight isn't the only way you can inform the reader about a room, especially when it comes to surfaces. A character will typically touch the furniture or move around the room in some way, meaning they will experience the room in more ways than just through their eyes.

Think about the material and the quality of the furniture, and whether they feel soft, hard, smooth, stringy etc. Think about whether they are comfortable for the character or not. Even consider whether they make a sound when being sat on or not.

How a surface feels can tell you a number of things about not only the state of the room, but also the people occupying it. Specifically, by telling the reader about the age of the furniture, and how well the room is being cleaned and taken care of, they can get a feel for both the economical state of the characters, or simply how much they care about hygiene and appearance.

Each room also tends to have a distinctive scent, whether because of cleaning, incense, age, fabric, smoke, or other factors. These can help distinguish one room from another, as well as tell something about the people occupying the room in question. For example: the room smells very heavily of perfume, it may indicate that particular space is mainly used by wealthy ladies. Or, if a room smells awful, it can show it hasn't been cleaned in a while.

I said before you should consider the sound of furniture when it's being used, but the sound of the rest of the room is just as important. A floor's material, for example, can be explained just by the sound of footsteps alone. Smooth, marble isn't going to creak, and heels on carpets aren't going to click in echoes.

Consider the space as well when thinking of the sound, particularly how the voices of the characters are being carried through the air. Small rooms with flat ceilings, for example, aren't going to have as much as of an echo as large, tall rooms with a curved ceiling.

These can be considered details, which can add character and depth to a room. So, you don't need to immediately address these when first introducing the room to the reader. However, as the room gets explored, they are handy tools in creating the atmosphere you want, without having to just rely on the room's looks to do so.

I hope these are at least somewhat helpful for you all, and if you have something you would like me to cover, let me know in the comments!

Goodbye, lovelies!

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Room With a View: Creative Writing Exercises

Exercise one – in this room.

A key part of being a good writer is to really pay attention to your surroundings and to translate what you can hear, see, smell, touch, taste and feel into words so that other people can experience what you’re experiencing. Focusing on the five senses is an important skill to develop as it helps to make your writing richer and multi-dimensional. It’s also a great mindful tool for creating calm. Win win! 

A key part of being a good writer is to really pay attention to your surroundings.

For this exercise, try to stay in the moment. Take in your surroundings. What can you see, hear, touch, taste and smell where you are today? Maybe there’s a smell of recently brewed coffee. Perhaps you can hear the birds tweeting outside or members of your family having an argument in another room. For touch, you might just want to focus on the feeling of your fingers on the keyboard or the way the paper feels beneath your arm or the pressure of one leg on top of the other, the feel of floorboards beneath your feet, or you could explore other feelings too. And if your mind gets taken away to a memory of another time and place as you notice a souvenir from a holiday on the desk, feel free to follow that thought too. Allow yourself to write whatever comes to mind and don’t think too hard about it. You can always edit it later.

Exercise Two – Room with a View

Windows and the views from them can be a rich source of inspiration for writing. They’re a boundary between one space and another, but a transparent boundary and a natural frame for writing. For this exercise, it’s probably easiest if you position yourself so that you can see out of particular window, but if you’ve got a good memory, you could also choose to write about a different view that you know well: maybe the view from a school window, or a holiday cottage that you might have visited. Follow the prompts below and allow your writing to get more fanciful and imaginative as you go on. Write in long sentences rather than making notes. Essentially, you’re constructing a poem, line by line. 

You can also watch this video and follow the prompts included here: 

• Something is straight in front of you. What is it?
• What’s off to the left?
• In the corner of your view, what can you see?
• Remember the way it looked at a different time in the past.
• Something is unusual today. What is it? Maybe something is missing, or present when it isn’t usually there.
• What is out of view (over the hedge, across the road)?
• What’s happening further away – on the other side of the village or the city?
• What about over on the other side of the world?

Exercise Three – The Witness

Let’s turn our attention from writing poetry to writing fiction and imagine a story in which a character observes the world from their window. Perhaps they’re a person who loves to be nosey, or someone who simply enjoys watching the world go by. Maybe, in your writing, you might have a whole cast of characters that the main protagonist sees: the woman who walks the dog at the same time every day, the man who pushes the pram, the postman or woman. Or, you might want to focus on one particular person and one particular incident. 

Effective fiction tends to focus around change so see if you can incorporate this into your story. Maybe the main character sees something that changes their perception of the world in some way or perhaps they see something that literally changes their world. Perhaps it’s something that they shouldn’t have seen and perhaps their decisions about what they do with that knowledge will drive the story. Maybe the change is simply that the woman stops walking the dog or that the post stops arriving. It’s up to you. 

Effective fiction tends to focus around change so see if you can incorporate this into your story.

Here are a few suggestions to get you started:

• The post gets delivered to the wrong house and a person who hasn’t left their home for years has to take it to the rightful owner.
• Someone witnesses a robbery.
• A character sees two people having a fight and has to decide whether to intervene.
• Someone overhears a conversation that they shouldn’t have heard. 
• A character sees or has an encounter with some unusual wildlife – maybe a badger or a fox

Exercise Four – Picture This

In case you’re tired of looking out of your own windows at your own views, we’ve provided some different views for you to look at. Hopefully they might inspire you. 

For this exercise, simply take one of the photographs and imagine yourself into the scene. You might be a character who is looking out of the window, or you might be someone in the scene beyond the window.

Use the following questions to help you to develop the character that you’re writing about. You might want to write a piece of fiction, but you could also write a poem about, or from the viewpoint, of the character. Most stories are driven by the desires of the main character and the obstacles that you, the writer, put in their way. You might want to think about that as you write.

• Who is the character? (Name, age, nationality)
• What are they doing here?
• Where are they going? Or where have you been?
• Who are they with or who are they waiting for?
• What are they afraid of?
• What do they have in your pocket or bag?
• What do they want most in the world? 
• What is their biggest regret? 
• Who is their best friend? 

Exercise Five – Objects

We’re surrounded by objects in our homes and what can seem ordinary and boring can soon be transformed into something interesting if we bring our attention and imagination to it.

For this exercise, pick an object from the room where you’re sitting and use it as the starting point for a piece of writing. 

You might want to tell the literal story of what it is and where it came from or you could make it the centre of a fictional piece. Maybe that little box from your holiday in Spain is actually a repository for all of the secrets of the universe, or perhaps your notebook is enchanted and everything you write in it becomes true. 

Maybe that little box from your holiday in Spain is actually a repository for all of the secrets of the universe?

Another exercise to try is to write from the point of view of the object. How does it feel to be the necklace that no-one very takes out of the jewellery box or the book that someone bought just to show off but which never gets opened?

Maybe you could write about two objects and their relationship. Perhaps the salt pot has a vendetta against the pepper pot or maybe the fork is in love with teapot. 

Have fun with it.

“It is perfectly okay to write garbage–as long as you edit brilliantly.’ C. J. Cherryh

Editing is a fundamental part of the writing process. Some writers enjoy the first burst of creativity more than editing, but others love that process of stripping out the unnecessary parts of their work and shaping it into a finished piece. 

I like to imagine editing as being a bit like sculpting; the finished story or poem is in there and your job as an editor is to chip away at the raw materials (your first draft) to smooth and polish the final work of art. Most writers write several drafts before they get to a piece that they’re happy with and, if you want to be a writer, it’s an important lesson to learn, that something is rarely finished at the first attempt. Invariably there’s a lot that can be done to improve a piece of writing and sometimes the finished article bears little resemblance to the piece you started out with. You write as a writer, but you need to edit as a reader.

Here are some tips to help you to improve your first draft. 

General tips

• If you have time, leave your writing for a while before you start to edit it. That way you can view it as a reader.
• Read your work aloud. You’re bound to find yourself editing as you go along as you’ll sense which bits flow and which bits don’t.
• Give it to a few trusted readers to read. They will pick up things that you’re too close to see. Make sure you choose your readers wisely though. You don’t want the opinions of people who are too close to you who’ll be afraid of hurting your feelings (e.g. your mum) nor do you want people who are too critical or competitive. Other writers usually make for good critics as they know how precious your work is and they also know what to look for. 
• Think about what the purpose of your writing is. Can you summarise it in a paragraph? What do you want your reader to think or feel after they’ve read it? It helps if you can keep this in mind as you edit and try to make sure that everything you write serves this purpose.
• Is your opening the best one? Does it make the reader want to read on? It’s usually a good idea to get straight to the point and the action. Can you cut the first paragraph or page? Often we’re finding our own way into the story at the beginning and our opening isn’t the right one.
• That said, you want your reader to feel quickly located in your story and clear what it’s going to be about. You might find it helpful to think about the w’s: who, what, where, why and when. Can you convey the basics of this information quickly and succinctly?
• Lay some hooks and questions to get the reader interested at the beginning. It’s a delicate balance between giving enough information so that the reader isn’t confused, and leaving them intrigued and guessing what’s going to happen next.
• Are you showing rather than telling? This is a big topic and something you’ll be able to find out more about online. Generally-speaking, you want to feel like you’re in control of a movie set and that you, as writer, are directing the film, showing the reader the action as it unfolds rather than telling the story. The reader doesn’t want to hear your voice but the voices of the characters. 
• Check your viewpoint. Usually it’s best to stick with one character’s point of view or to be very clear that you’re switching to another character (e.g. by starting a new page of chapter). Be careful not to flit between characters’ heads unconsciously as this can make the reader feel confused and disorientated. One way to check this is to ask yourself the question: ‘says who?’ at the end of every sentence. 
• Check for repetition and see if you can use different words and phrasing. 
• Use as few words as possible. You don’t need to explain things in several different ways e.g. don’t say, “ ‘I’m furious,’ screamed Jen, angrily.” One way of letting us know that she’s angry is enough.
• Where possible, avoid feeling words and show emotions in different ways e.g. with body language and physical sensations i.e. ‘she sank to the floor, her body wracked with sobs’ as opposed to ‘she felt really upset.’
• Don’t overdo it though. You don’t need to reference the tightness in someone’s chest every time they feel anxious and beware of mentioning the same things over and over again e.g. scratching chin, playing with hair, winking. How often do people really wink in real life?
• Avoid using too many adverbs and adjectives, especially adverbs.Often, you can replace an adverb by choosing a better verb e.g. instead of saying ‘he shut the door noisily ’, you could say ‘he slammed the door.’
• Use dialogue to bring your prose to life and to show character rather than describing everything.
• Don’t overuse names. Unless it’s confusing, use ‘he’ and ‘she’.
• Be careful when choosing character names to choose names that sound very different. If your three main characters are called Ahmed, Abdul and Ahad, your reader is likely to get confused.
• Don’t feel you have to use complicated dialogue tags: ‘he said’ and ‘she said’ are usually better than ‘he expostulated’ and ‘she exclaimed’. 
• Don’t give too much information and try to make it natural when you can e.g. a character wouldn’t say, ‘when Matt, my husband, came home from his work at the local hospital.’ She’d just say, ‘when Matt came home from work.’
• Check that you’re indenting each paragraph and each time a new person speaks.
• It’s generally accepted practice in the UK to use one inverted comma for dialogue and to put the punctuation inside the inverted commas e.g. ‘Are you coming for your dinner?’

Editing poetry is a bit more complicated as poetry is more open to interpretation and individualistic stylistic choices but here are a few things you can look for.

• Read your poem out loud several times. How it sounds is as important as how it looks on the page. 
• Are you using the perfect word? Poets think really hard about every word. They’re thinking about the sound and shape of the word as well as its meaning.
• Think about where you position your words. Does a line sound better if you turn it around? 
• Consider line lengths and stanzas or the overall shape and balance of the poem.
• Think about which words go at the ends of the line. You probably don’t want to end lines with words conjunctions like ‘and’, ‘or’ and ‘because’. 
• If you’re rhyming a poem, make sure you’re not just using a word because it rhymes. If you are, then think about a different way to say what you’re trying to say.
• Be consistent with your punctuation and capitalisation. Some poets use capitals at the beginning of each and some don’t. Either is ok but make sure you’ve thought about your stylistic choice. 
• Does your imagery make sense? Poets often make use of similes and metaphors. One or two carefully-chosen metaphors are usually more effective that lots. 
• Have you used other poetic techniques e.g. alliteration and assonance? Could these be strengthened? 
• Think about your beginning and your ending. Are you starting and ending with two of your best lines?

Don’t forget to follow us on social for regular writing prompts and challenges; @thelitplatform / @theliteraryplatform.

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Lea`Brooks Contributor Contributor

How would you describe this room.

Discussion in ' Word Mechanics ' started by Lea`Brooks , May 20, 2016 .

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); This is essentially what a bedroom looks like in my story (though it's much wider). Two solid walls and two others covered with these open archways. But I'm struggling to write it so that it makes sense. Any pointers?  

Witchymama Active Member

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Ok first of all, I now know what I want for my dream bedroom. You could describe it as open air. I don't know, but I would probably describe the room based on directional views from inside it. What does the character see when on the bed? While sitting at the vanity?  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Witchymama said: ↑ Ok first of all, I now know what I want for my dream bedroom. You could describe it as open air. I don't know, but I would probably describe the room based on directional views from inside it. What does the character see when on the bed? While sitting at the vanity? Click to expand...

SethLoki Retired Autodidact Contributor

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); A colonnade style bedroom, its high ceiling supported by ornate and proud alabaster columns, each arched precisely to the other. All grand inside too with a marbled open space that's purposely mezzanined fore and aft to afford views of the city and countryside.  

matwoolf Banned Contributor

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Open air room with big concrete posts supporting the ceiling, and a flush vanity.  

Wreybies Thrice Retired Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); matwoolf said: ↑ Open air room with big concrete posts supporting the ceiling, and a flush vanity. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Really, what was the curious slogan scripted over the way to Geoffrey's chamber, and in this place of such atmosphere, she stroked her neck.  

Cave Troll It's Coffee O'clock everywhere. Contributor

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); It reminds me of something either from an Italian Villa, or of a Romanesque inspiration. Though I would like to think there would be windows on a bedroom that lavish and extravagant, otherwise it would be littered with all sorts of things you would not want in there. Otherwise that is what I would describe it as in terms of what it looks like, using the main features of the room itself. It was of columns that held the ceiling high and off the marble floor, and the large panes of glass filling the archways of the ornate pillars.  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Cave Troll said: ↑ It reminds me of something either from an Italian Villa, or of a Romanesque inspiration. Though I would like to think there would be windows on a bedroom that lavish and extravagant, otherwise it would be littered with all sorts of things you would not want in there. Otherwise that is what I would describe it as in terms of what it looks like, using the main features of the room itself. It was of columns that held the ceiling high and off the marble floor, and the large panes of glass filling the archways of the ornate pillars. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); They had glass, but ok... Can I get a partial credit for ornate pillars and archways?  

peachalulu Member Reviewer Contributor

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); A columnated breezeway that the garden was starting to claim. Vines had already woven through the archways.  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Cave Troll said: ↑ They had glass, but ok... Can I get a partial credit for ornate pillars and archways? Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Four stumps, thick, cold stumps, stretched to an ornate high roof, decorated in our legends of antiquity. I touched the clasp of my toga, and caught by gust it flew seawards, my message clear to Mark Anthony. 'Huh, hmm, huh, huh, errr,' he said, spirit forces caught in his throat. The senator tore at his groinplate, and candle lit, draped the plate across my full Arabian breasts. 'Retain modesty of Aristotle,' he said, his penis swinging in shadow, the one horizontal stump climbed this house of vertical attraction. I knew how it would not be long, how our bath time together, how a dozen individual slaves attending to our sexual whims would bring us to the verge of very, very burst on this mountain top, under gods. Oh do shut up, dick head.  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Never mind.... (whistling and walks away) @Lea`Brooks  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); I built it in the Sims, but it's not letting me upload it....  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Lea`Brooks said: ↑ I built it in the Sims, but it's not letting me upload it.... Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Ha-ha! I figured it out. Observe: Preferably, the brown fences in arches would be stone fences. But I don't have the option to do that.  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); Fab–but (as mentioned on a concurrent thread) poss a bit draughty. If that bed were mine I'd be draping the 4 poster with material all diaphanous like for excluding mozzies and a more secure sense of snug. Stop press. Cue Twilight Zone leitmotif. Wifey here has just loaded up Minecraft and by strange coincidence is crafting something similar (not asked for her motive); I was peering into this writing forum world at your image while over the lid of laptop something quite similar is being worked on in another virtual arena. I think it's spooked me a little.  

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); SethLoki said: ↑ Fab–but (as mentioned on a concurrent thread) poss a bit draughty. If that bed were mine I'd be draping the 4 poster with material all diaphanous like for excluding mozzies and a more secure sense of snug. Click to expand...

IHaveNoName Senior Member Community Volunteer

googletag.cmd.push(function() { googletag.display('funpub_84662aa27b09b806c1ab4ce0ec6f4ccd'); }); The room was large, tiled in marble, with a small fireplace at one end. Two of the walls were colonnades; beyond them lay balconies.  

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List of Great Adjectives to Describe a Room

Table of Contents

To portray the right picture, you need adjectives. You need adjectives to describe a room if you’re writing a story or an essay.

Descriptions give you concrete details and show that you’re capable of thinking critically in writing. In your English speaking and writing tests, you need adjectives to impress the teachers who will grade your essays.

You must be able to describe things in a way that holds your readers’ attention. For a room, you must write in a way that vividly shows you know your room by discussing furniture, accessories, decorations, or paintings.

This article teaches how to describe a room in great detail. Let’s Jump right into it!

What Is a Room?

A room is an enclosed space within a building, defined by its walls, floors, and ceilings. Anything that divides the space is a room, such as stairwells, hallways, and windows.

The distinction of “room” is a somewhat subjective classification. Rooms depend on their purpose, but we recognize them as spaces within one large building.

Sentence Examples of a Room

• The room has lots of books in it.
• Mike’s room has coral walls.
• Take the room located on the second floor.
• The room has an ambiance of peace and rest.

Best Adjectives to Describe a Room

These adjectives give a general idea about the character of a room . Some of these adjectives are bland, crowded, cozy, dark, and plain. The description of a room might be the following:

• Old-fashioned
• Controversial
• Filled with natural light

Synonyms Related to Room- Meanings and Sentence Examples

Many words can replace the word “room.” Other words describing a room are chambers, hallway, living room, and study.

1. Chambers

A chamber is a room, usually with one or more openings, in a building. We can also describe a chamber as an ample space typically used for formal gatherings.

Sentence Example: “The Jacksons live in a chamber near the high school.”

A hallway is a passage (usually indoors) that connects one room or area to another. It is generally long and narrow (up to 4-meters wide in buildings), constituting a path through the building.

Sentence Example: The hallway is full of all types of students.”

3. Living Room

The living room is a living space where visitors relax after a long and tiring day. This might not be the most important room. It can also be defined as the central living space in the home of a family or an individual.

Sentence Example: “The living room was full of loud noises and music.”

The word “space” is any area with no fixed boundaries and cannot be filled with other setups, objects, or geography. It’s important to remember that space is a fluid term that can signify many different things.

On the other hand, we can also describe space as a large area that can be used by anyone who wants to.

Sentence Example: “The space was so empty that it was eerie.”

A bedroom is where one sleeps, wakes up, or relaxes. It is usually a private room in the home of someone who values privacy.

Sentence Example: “Your bedroom is a mess; Fix it!”

Many words can be used as adjectives to describe a room . We hope you had fun with this article and learned something new!

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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How to write good room descriptions?

How can I make the location feel real to the player? How much details are needed? Should I describe the smell, temperature, threes, ground, sky…?

I guess I should mention what an average person would notice about the area. If the player goes outside, it would be logical that he notices the cold and the wind … but I shouldn’t keep telling him this.

What is the best way to write about the exits? The cardinal directions easily make them sound a little too mechanical.

Standing with my eyes closed allows me to visualize that I’m in that area myself: I’m facing south. In front of me, the path leads into the darkness. I can still hear chatter from the camp behind me. To my left - that’s east - is that wierd hole in the ground, and so on.

Also, I find google image search and books.google.com quite good to get inspiration for a specific locations.

There’s really no singular strategy to writing good descriptions. It’s very contextual, and different ways of describing a place will produce different effects. Both of these are valid, and describe basically the same place:

…but they suggest profoundly different stories.

I think if you’re writing a parser fic, there is (at least potentially) going to be an expectation that anything that warrants a description is something that can be interacted with. Like, if you’re going to actually name individual items in a room, I as a player am going to want to interact with those items because I’m going to assume they’re relevant in some way. So be prepared to at least write some custom text for anything that can be seen but can’t/doesn’t need to be interacted with.

I say this of course as a total n00b to parser fic, but that’s what I’ve discovered playing: I want to see and touch everything to see if it might be useful.

Otherwise, I think the thing with description is that it can be used to various effects. In general, I think more description slows things down, which can be good for pacing. If you want to build up atmosphere in a horror game, for example, description is one way to both give a lot of creepy details and slow down the overall pace of the story. In more action-packed sequences, slim description will pick up the pace.

Why worry about what an ‘average’ person would notice? Room descriptions are a great chance to enhance atmosphere or characterization by describing what your PC notices.

A while ago someone posited three different descriptions for a table (my google-fu is failing to locate it so here is a paraphrase):

You reflect on the day you bought this table with your roommates. Laura fell in love with it right away when she saw it in the thrift shop; Jason didn’t really care, but shrugged because it was the cheapest one and you needed something to eat on.

X TABLE Genuine Earth manufacture, by the looks of it!

X TABLE You see a scratched and stained wooden kitchen table.

Only one of the three is about the table’s physical appearance, you’ll note. (And for purposes of rhetoric, it’s also the most boring.)

same goes for room descriptions, I think. They can be very evocative if you choose the right words. Some games are about pretty much nothing BUT location. And that’s just fine with yours truly (I’m a sucker for good atmosphere in a game; yes, I adored “Myst”).

I prefer to list exits with their compass direction because, let’s be honest, it makes life for the player a lot simpler. You can insist on left, right, back and forward, but then you’ll have to limit movement carefully or do a lot more coding because the perspectives will change every time the PC moves. “Hunter, in Darkness” has a nice sequence featuring left/right/ahead/up/down options only, but the game is designed so you can’t get lost.

Of course, with a strictly hypertext/choice game you don’t have to worry, because the player can do nothing except click the options you present, and most games don’t give you the chance to turn around. In any case, the options for which way to go are all in the hyperlinks, so a player won’t get stuck unless you screwed up and sent him into a loop, or purposely designed a maze of twisty little passages for him…

But even sticking with the compass you can list things out of order, use verbs creatively, vary the sentence lengths and so on to keep things interesting.

Google VR is definitely nice, if you have a real-life location in mind. In some cases you can use the map/street view to get a panoramic look at any point near a street; handy if you wish to pay a visit to a plaza in Rome, but haven’t got the airfare.

Graham Nelson had a section on room descriptions in “The Craft of Adventure”: HTML version . The whole essay is definitely worth a read, even if some parts are less applicable now than they used to be.

Style-wise, what might be considered a “good” description of a location may not be what serves the story. If a protagonist is tied to a chair, they won’t necessarily notice the cleverly-matched chair rail and crown-moulding in the dining room.

Don’t forget to mention exits!!

I thought this as soon as I saw this thread title.

Generally speaking, Graham Nelson is a great starting point for anyone.

I also vaguely remembered such a resource. Thanks a lot for pointing us to it!

Here are a few more resources about writing room (and other) descriptions …

This article by Stephen Granade is very practical:

brasslantern.org/writers/iftheor … tions.html

Quotes from IF reviews about good and bad descriptions (plus a few more links):

davidfisher.info/if/gems/index.html#9

Related threads from the rec.arts.int-fiction newsgroup:

ifwiki.org/index.php/Past_ra … 6_settings

Graham mentions the book Writing BASIC Adventure Programs for the TRS-80 … I just found out that it can be downloaded here:

archive.org/details/Writing_BAS … nk_DaCosta

Grahams piece made me wonder about writing “You are in…” or “You can see…” in the description. Does it serve some purpose, giving the player a bit more presence in the world, or is it just tedious and redundant?

It’s a crutch, I grant you that - a fallback for when you can’t think of anything more exciting. It’s the most obvious way to present a world to a player in the second person. Room descriptions often gain by avoiding it - but failing to avoid it is not shameful.

My advice: make it like an ice cream sundae and put the cherries on top. That is to say, lead with the most salient details. Stuff like temperature and wind can be put in a one-time only message, perhaps staggered to appear after being in the location a while.

(first sentence) (middle sentences) (last sentence)

(exit listing)

(object listing)

If all of these are present in a room, then the player’s awareness (from things they are most aware of to things they are least aware of) will be something like:

• object listing
• exit listing
• first sentence
• last sentence
• middle sentences

(This will vary by person, of course. But in general.)

I build room descriptions based on a combination of this information and a personal design sense about where I want the player’s attention to go. Examples:

If I want an object (or exit) to be extremely visible, then I separate it from the room description. If I want it to be more environmental, then I embed it inside the room description.

If I want players to read the room description carefully (over the course of the full game), then I keep exits listed in the room description only. If the room description doesn’t matter as much, then I separate exit listings from the rest of the room description.

If the PC’s attention would go immediately to a specific object, then I place it either in the object listing or the first sentence.

…and so forth.

XYZZYmag had Michael Berlyn write on this very subject: xyzzynews.com/xyzzy.17d.html

I’ve got some thoughts on this, but I’m struggling to find a way of expressing them without referring to that which must not be referred to in the IFcomp.

Room descriptions are your main opportunity to establish a consistent ‘voice’ through your work. They can be verbose, descriptive, bare, specific, vague, static, dynamic. They are more than a mechanic in that, as well as delivering the required information for the palyer to interact with the world, they both ground it and inform the player’s experience of that world. They establish atmosphere, and set expectations for the text.

They are also your control mechanism for world objects. An object is scenery. It is built into the room description. It is mentioned obliquely. It is separated out. It has the player’s attention drawn to it or it is part of a run-one sentence. It is buried in a list of things. It’s a noun the player can explore, or one you forget to implement. A room description is the starting point for revealing the world.

A room description might be dynamic - it changes in response to a players actions, and, as such, it becomes a part of the narrative drive.

Room descriptions can do alot.

Later edit : Oooh…I’ve just remembered, we were discussing a similar sort of thing relatively recently here: The compass, location descriptions and mimesis

One of the first things I did with the game I’m working on was to say, “At last I can junk the whole cumbersome north-south-east-west description paradigm that sounds so awkward to a player who is new to the genre.”

So I implemented a map that used only “left, right, forward, back, up, and down” as legitimate directions. (No diagonal connections allowed). I keep track of a player’s orientation in a room, so that if he enters the kitchen and the hall is behind him and the dining room is ahead of him, when he enters the dining room and then comes back to the kitchen, he will see that the hall is now in front of him and the dining room is behind him. I even implemented >Turn Right, >Turn Left, and >Turn around, so that a player can change his orientation in a room without leaving it.

Very proud of myself, I was.

Until the first testers go ahold of the game and universally panned it as confusing.

Unwilling to (totally) give up, I (for now) have left the original “left, right” style directions as the default in the game, and told the player that he can type “>Compass on” to revert to the traditional “east, west” style of directions. So far, although the testing pool is small and is made up only of seasoned adventurers, everyone has switched over to Compass directions the moment they had the chance.

Sounds very interesting! Do you have this online somewhere?

Spoff, you may want to give Rats in Control a whirl:

ifdb.tads.org/viewgame?id=gakwspx3ip7xo7kk

No one ever really wants relative directions in actual play.

Over the years, whenever I’ve seen someone who is unfamiliar with IF complain about the counter-intuitiveness of compass directions, what they invariably would rather see is pathfinding – that is, they want to type GO TO THE BRIDGE, and then just automatically go to the bridge from wherever they happen to be.

15 Inspiring Writing Room Design Ideas to Foster Creativity

Decorating your writing room is fun, but remember that it can also affect how you feel while creating your stories. In this article, you’ll learn some of the best ideas to foster creativity. 

The Best 15 Writing Room Design Ideas

Although there are many options to decorate your writer’s corner, you need to try some of the following ones - they’ll help you get your creative juices flowing! 

Maximize Natural Light

Writers don’t need many things to engage in their craft. In many cases, you may require a pen and some paper.

However, having the best lighting possible is non-negotiable. If you don’t, you won’t be able to write. 

Before getting into the more aesthetic writing room ideas, you must take advantage of any natural lighting you have. Arrange your desk to benefit you while you’re pouring over your manuscripts or laptop. Otherwise, you’ll most likely get eye strain.

Create a Cozy Reading Nook

Writers need to read to improve, and on many occasions, they love doing so. If this is you, creating a reading nook in your writer’s office could be a fantastic idea. 

The best part of this is that you won’t have to put much effort into it to achieve it. You need a comfortable sofa or a couch and some shelves to keep your favorite volumes. Add some task lighting to make sure you’re able to see, and you’ll be ready!

Get an Inspirational Wall

Although being a writer is a beautiful job, constantly trying to get inspired can be very stressful. Facing a blank page (or screen!) might lead you to feel demotivated and even abandon some of your favorite projects. 

Therefore, when it comes to writers’ office ideas, putting together an inspirational wall is essential. You can arrange it however you want. 

While some people put up motivational quotes, others prefer adding some shelves and organizing their favorite books because looking at them makes them feel inspired to write better. In the end, it’s up to you, so it can be as extravagant or as simple as you want!

Install Personalized Bookshelves

Writing space ideas often include bookshelves because they’re essential to your craft. You’ll not only need the shelves to organize your favorite books but also to arrange documents, resources, and more. 

Overall, the best option is to get a personalized alternative depending on the supplies you have. Some people take things to the next level and cover their writing room with ceiling-to-floor shelves, but if you don’t want to go that far, you don’t have to.

Buy an Ergonomic Chair and a Desk

Being comfortable is essential while you’re writing because you’ll spend hours in front of a computer (or a typewriter if you prefer the Hemingway route!), so you must guarantee you’re reducing the risk of an injury as much as you can. 

Fortunately, many of the best chairs for writing are affordable or offer different payment options for you to buy them. 

Generally, you’ll want to go for a chair that’s comfortable but that also has the correct ergonomic features to ensure you won’t get hurt, even if you spend hours sitting down on it, writing fiercely. 

Lastly, a high-quality desk is also crucial because you need a piece of furniture to organize your essential writing supplies and arrange your equipment (your laptop, computer, or any other device you use). Make sure you explore all the options before choosing the best one.

Use Mood Lighting

Having a properly-lit room is essential, but so is getting inspired. Sometimes, you may just want to sit there and think about your characters and plot, and for that, you might not need blinding sunlight coming in through your windows. 

Instead, you can rely on mood lighting and change things depending on what you’re doing in your writer’s room. You’ll be able to switch from one ambiance to the other by clicking a few buttons, and it could help you feel inspired or motivated to write different scenes or chapters.

Get a Corkboard or a Whiteboard

Jotting down quick thoughts is essential when you’re a writer, which is why many of the best writing corner ideas include getting a whiteboard or a corkboard to make things more straightforward. 

Instead of risking losing essential information that could help with your writing, you could add a corkboard or a whiteboard to one of your walls and use it to jot down reminders for your projects, plotlines, ideas, and more. 

Hang Beautiful Artwork

As the article mentioned before, there are numerous writing space ideas, but some of the most crucial ones focus on helping you feel inspired. 

Inspiration is like a cloud - it comes and goes. However, you can set your surroundings to try to make it easier for it to appear again, and this is where artwork and inspirational quotes come in. 

Hanging pleasant artwork will allow you to feel motivated to write because it will inspire you. At the same time, it’s a very convenient option for your writing room because you don’t have to spend much money on it - you could buy pieces from indie artists and support their small businesses.

Plants, Plants, Plants!

Scientists have proven that being in contact with nature helps reduce stress, anxiety and depression symptoms, even if you’re not outside walking in the woods. 

Therefore, it’s no surprise that having some plants inside your writing corner ideas can help you feel better. Clearly, you probably can’t have as many as you’d like to because you need space for your favorite volumes, documents, and other crucial writing equipment. 

However, adding some plants here and there or opening your windows to be in contact with nature could completely change how you feel when you’re inside your writer’s corner.

Rely on Color Psychology

Experts have done research on how different colors and patterns affect your mind , and now, this information is available for anyone to apply when decorating their interiors. 

To make the most out of your writing room ideas, you should choose colors that boost your focus and creativity. Blues, greens, and soft neutrals will probably work best.

In the end, you can choose the colors you want. However, keep in mind that you’ll spend a long time in that room, so you should avoid neon or bright paint because it’ll probably make you feel tired after a while. 

Make Sure the Room Reflects Your Style

There are many writers’ office ideas you can try, but the most crucial aspect to remember is that the space should reflect who you are as a person and a writer. 

If you have to write somewhere you don’t feel like yourself, you’ll probably never be motivated or inspired.

Therefore, although there are numerous options out there, you should only choose the ones that fit your needs and individual preferences. 

Some people go for a minimalistic look because having too many objects around them is overwhelming. However, for others, it’s the opposite - they prefer feeling as though they’re inside a cozy nook full of new things. 

Your room should reflect your style, so don’t be afraid to experiment with different options until you find the one you want.

Soundproofing

Staying focused is essential when you’re a writer, and unfortunately, it’s one of the most challenging things to achieve. 

Concentrating can be an even more daunting task if you live with other people. They might distract you by accident, which is why having a private space for writing is so crucial. 

To guarantee you won’t lose focus during your intense writing sessions, make sure the place is soundproof. You’ll avoid unnecessary distractions and be able to think about your work. 

Get the Right Tools

Writers need to handle many documents, reference papers, books, and manuscripts. Therefore, you’ll need various storage unit options to keep everything neat. 

A crucial part of focusing and feeling inspired is having organized and peaceful surroundings. Therefore, you’ll need different storage alternatives, otherwise, clutter will take over your life.

Opt for a Comfortable Floor

Although you’ll mostly be sitting on your chair, if you often spend long hours writing, you’ll have to walk around for some time or even sit elsewhere. 

While some add a sofa to their writing room, others just prefer sitting on the floor. If you belong to the second group, you should make sure it’s comfortable. 

Cork floors and soft rugs will be your best friends when you’re setting up the ideal writer’s corner. However, remember that there are many options, so go through all of them and choose one that fits your budget and style. 

Arrange a Music Corner

Last but not least, music might be essential for you while you’re engaging in long and intense writing sessions. 

A music corner could be the perfect addition to your writer’s room, and you don’t need much space to put it together. 

Get a compact table and set up some speakers (or even a turntable!). While you’re writing, you can play soft ambiance music or anything you need to help you get your creative juices flowing.

A Better Solution to Improve Your Writing Focus - Invest in a Backyard ADU

Although you can turn an extra room into a writing studio, the best alternative is to get a prefab accessory dwelling unit . 

With so many writers’ office ideas out there, it’s easy to get distracted by the numerous options and wish you had more space to try them all. Fortunately, you can do that if you have a tiny house in your backyard ! 

Autonomous has different studio sheds for you to explore if you’re looking for the ideal private space to enhance your writing. Here are some of the brand’s top options:

This home pod is many people’s favorite because of its convenient dimensions and modern design. 

Clients have said they’re pleased with the WorkPod because it’s spacious enough for them to arrange all their supplies and focus on their work without getting distracted by other things. 

Plus, if you choose the WorkPod, you won’t have to worry about installation or anything about the process. Experts will get in touch with you as soon as you pay, and they’ll visit your property and install the prefab ADU. 

Autonomous WorkPod

WorkPod Versatile

A versatile option might be what you’ve always needed if you’re going through different writing space ideas and want to try some. 

Autonomous prefab studio is a multipurpose compact house that you can put in your backyard and use for work or to engage in your favorite hobby: writing! 

In most localities, you won’t need a permit to install it in your backyard, and experts at Autonomous will help you throughout the process if there’s something you want to know. 

Lastly, since it includes a sturdy desk and other additions, you’ll get everything you need to start writing like you’ve never written before! 

Autonomous WorkPod Versatile

WorkPod mini

Some people want a writing room but their budget is tight. If this is you, don’t worry - you’re not the only one, and Autonomous has the ideal option for you to explore.

The backyard pod (also known as the WorkPod mini) is a versatile prefab ADU that’s more compact than other alternatives but still has all the features you need to take your writing to the next level. 

Even though garage office conversion is always an option, a prefab ADU is a much better alternative, especially if you get the WorkPod mini because it’s a much more affordable model. 

Autonomous WorkPod mini

Final Thoughts

Having a writing room is any writer’s dream, and you can achieve it if you decorate it properly and make sure it matches your needs, preferences, and goals. 

The best option is for you to get prefab home additions , so now that you know about some of the versatile and high-quality alternatives Autonomous has for you, don’t hesitate to pick one and have fun while writing!

Stay connected with us!

Subscribe to our weekly updates to stay in the loop about our latest innovations and community news!

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WRITTEN BY Autonomous

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The GSAL Journal

Passion, Curiosity & Creativity

An Old-fashioned Room

Oliver – Year 7 Student

Editor’s Note : Students were asked to complete the following creative writing task under timed conditions: ‘Describe an old-fashioned room as suggested by the picture’. Oliver’s response demonstrates some truly fantastic writing. ADM

The room had a musty odour, evocative of grandparents’ houses – the type that makes you feel safe and cosy. It was lit dimly by a tall lamp in the corner with a green lamp shade decorated with light, undulating patterns, all but lost under a thick coat of dust. There was drab, vile, green wallpaper; dark green contrasting curtains; a wide, thin rug with tassels on. A wooden rocking chair sat in the corner, furnished with an old, dilapidated cushion. A small, coal fireplace graced one wall beneath was a white, marble mantelpiece. On top of the mantelpiece danced porcelain figurines and ornaments.

On walls hung portraits of long forgotten people, who looked about the room with a proprietorial air. There was a sofa against one wall – a bland, beige coloured lump, which looked as if it would be itchy if you sat on it. A pink doll’s house was pushed up against a wall and enveloped in dust. It looked sad and lonely, as if it knew it would never be played with again. Next to it sat a hobby horse with chewed-looking ears, missing its rocker.

If you looked out of the ornate window, you would see an overgrown jungle of a garden: brambles and an oak tree with branches like twisted fingers and gnarled, twisted roots protruding from the ground like snakes.

This was my home, all those years ago.

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How to describe rooms to help the guest decide?

Our research into hotel guests’ online behaviour shows that alarmingly often they have problems deciding which room to choose. How should you describe rooms to help guests make the decision and to make them choose rooms of a higher standard more often?

A very specific pattern often emerges from our studies of hotel guests’ online behaviour. Namingly, guests visit the pages with details of particular types of rooms and revisit several times those they have already seen. In the end, they choose the cheapest type of room (if any).

Websites that manage to easily assist guests in their decision making share a few characteristic features. What are they?

First of them is clearly highlighting the most crucial features of a room, especially room size and the maximum number of guests. Bed configuration, extra bed options, air conditioning are also important. Each hotel has a slightly different list that can also include details such as the window view or the presence of a balcony.

It is crucial to clearly indicate such features as early as on the first list view of all rooms. This is where we, as Profitroom, can help hoteliers by properly designing their room list.

The list should show only the key features in a concise form, without any unnecessary text. Guests shouldn't have to read such a description – it’s enough to scan it to know the rooms’ key features and to compare them.

This is an example of what it could look like:

At a glance, you know the differences between the rooms – and see what are the great additional features which the more expensive room offers.

However, if hoteliers don't put the rooms’ key features into the system, they won't show up on the list! On the other hand, if your website allows you to publish longer text strings on the room list, it is definitely not worth making use of it in favour of the key words. Making an effort and putting all the key features into the system will allow you to use them over and over again. Your guests will pay you back with more reservations. 

When viewing the room list, guests just want to compare rooms and longer texts will only obscure the picture.

If you cannot dispense with a loose text (because, for example, the rooms have a unique character that has to be shown somehow), the description should not exceed the length limit of one text message: 160 characters. It should more or less look like this:

The key features are not all, of course. The rooms should also be described in a detailed form available on the per room view. This is what you can really do your word-magic. Unfortunately, around 70% of them do not take the opportunity and provide only sketchy descriptions.

How describe rooms?

It is worth repeating the key features of the room, just like on the room list. They should be conveniently displayed at the top of the page clearly visible to guests, so they don't have to spend time searching for the most important features among the remaining features. 

What should you start writing room descriptions from?

It is good to start with brainstorming and writing down all information that you think might be of importance and interest to guests. Talk to the reception staff – they know what guests ask about and what arguments influence positive decisions.

Don’t start writing just yet! Let’s first classify room features into three groups - from the most to the least important ones.

The first group should include the features that are good description of your hotel’s unique characteristics and atmosphere. What we mean by it are the distinguishing features that you want to highlight, that make you stand out from other hotels. For example, in the case of a historic building it might be a short (more on what we mean by “short” will follow soon) reference to its history.

The second group is all the important information on room furnishings, amenities and arrangement, and terms of stay (complementary services, range of service, pet friendliness, child policy and cancellation policy) – those are the details that guests ask about.

All other information that does not fit into the two above groups will constitute the third category. It includes descriptions of what guests can see in the photos (“furnished in two styles – classical and modern, in brown and golden tones with green, beige and orange accents”) as well as high level statements (“We aim high when it comes to the standard of our rooms.”).

The information from the first group should be placed just after the key features of the room. You can consider illustrating it with a photo. Then comes the information from the second group. The third group should be omitted altogether – a long description will discourage guests from reading the text.

How to put it all together?

This is of crucial importance. Our research also demonstrates that hotel guests do not read blocks of text . Instead, what works well are short bulleted list , with the most important fragments in bold type, such as this:

Make sure your descriptions are short and to the point. Once a text is ready, make it shorter by a third. Then ask someone to edit and shorten it by another third. Consider every word – does it carry any useful information? Remember that hotel guests don't want to read long and meaningless descriptions.

What about pictures?

Pictures should show what is difficult to describe with words (style, colours, spaces, atmosphere) and vice versa – the lexical description should include all information that pictures cannot convey. Graphics and texts are meant to communicate different types of information and it is worth remembering this distinction.

Do you want to help guests make the decision?

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Category : Government buildings in Moscow Oblast

Federal subjects of the Russian Federation:

Instance of
Authority file   Subcategories This category has the following 6 subcategories, out of 6 total. Fire stations in Moscow Oblast ‎ (3 C, 8 F) Gorki-9 ‎ (1 C, 7 F) House of Moscow Oblast Government ‎ (24 F) Inspectorate of the Federal Tax Service No. 17 for Moscow Oblast ‎ (2 F) Novo-Ogaryovo ‎ (2 C, 150 F) Town halls in Moscow Oblast ‎ (7 C, 17 F) Media in category "Government buildings in Moscow Oblast" The following 8 files are in this category, out of 8 total. Government buildings in Russia by region Buildings in Moscow Oblast by function Uses of Wikidata Infobox Uses of Wikidata Infobox with no topic Navigation menu SMP WEDDINGS SMP’S VENUE BLOG LITTLE BLACK BOOK BLOG LBB INDUSTRY BLOG DESTINATION NEW ENGLAND THE NORTHWEST THE MIDWEST THE SOUTHWEST THE SOUTHEAST THE MID-ATLANTIC THE TRI-STATE AREA Russia Weddings Real Weddings Bridal Week Engagements & Proposals Seasonal Wedding Trends Bridal Beauty Wedding Fashion Trends Vendor Guide DIY Projects Registry Guide Engagements & Proposals by Melissa Hammam comments ( ) Hands up if you’re ready to be dazzled! From a ceremony structure designed to float on water to a jaw-dropping reception room with flowers blooming from every service, we’re swooning over every bit of this wedding. If you can believe it, that’s just the beginning. Julia Kaptelova artfully shot every detail, like the ballet performance guests were treated to and snow falling from the ceiling for the first dance! Prepare to be amazed and take a visit to the full gallery . From About You Decor … Our design is a symbol of dawn and a distant endless horizon. Ahead is a long, happy life without any borders. An international couple, Pavel and Cherry, met in London and have been walking together for many years. From the Bride, Cherry… My husband and I we decided to have our summer wedding in Moscow because the city is where his roots are. As we knew we were going to have the other wedding ceremony in China, we wanted our Moscow one to be very personal and intimate. We’ve known each other since we were fourteen, together with many of our friends whom we’ve also known for a decade. I didn’t want to walk down the aisle twice so the plausibility of my request quickly came into discussion. The open pontoon stage was constructed in order to facilitate the bridal entrance on water, although there were concerns about safety as the last thing we wanted was probably a drowned bride before she could get on stage, picture that! I have to say on that day it wasn’t easy to get on the pontoon stage from the boat, in my long gown and high heels. Luckily my bridesmaids still noticed even though they stood the furthest from me on the stage, and helped me out without prior rehearsal. My girls could just tell whenever I needed a hand or maybe they were just so used to my clumsiness. Who knows 😂 We all love our photographer Julia! She’s so talented and her style is so unique. Our beloved host Alex is exceptional who made everyone laugh and cry. It was truly a blessing to have so many kind and beautiful souls on our big day. Thank you all! [iframe https://player.vimeo.com/video/384992271 600 338] Share this gorgeous gallery on Photography: Julia Kaptelova Photography | Wedding Planner: Caramel | Cake: Any Cake | Invitations: Inviteria | Rings: Harry Winston | Band: Menhouzen | Grooms attire: Ermenegildo Zegna | Wedding Venue: Elizaveta Panichkina | Bridesmaids’ dresses: Marchesa | Bridesmaids’ dresses: Alice McCall | Bride’s gown : Jaton Couture | Bride’s shoes: Manolo Blahnik | Decor : About you decor | Earrings: Damiani | Muah: Khvanaco Studio | Video: Artem Korchagin More Princess-Worthy Ballgowns I’m still not convinced this Moscow wedding, captured to perfection by  Sonya Khegay , isn’t actually an inspiration session—it’s just  that breathtaking. From the beautiful Bride’s gorgeous lace wedding dress and flawless hair and makeup to the pretty pastel color palette and stunning ceremony and reception spaces, this wedding is almost too good to be true. Do yourself a favor and see it all in The Vault now! From Sonya Khegay … It was the last day of April and still very cold in the morning. The weather forecast wasn’t pleasing and no one expected that the sun would come out, but miracles happen and light rain gave way to the warm rays. I love how all the details went together, you could feel the harmony in everything throughout the entire wedding day from the morning until the fireworks. A gentle look of the bride, elegant but so airy and unique decor, the fresh and light atmosphere of early spring and, of course, true happiness in the eyes. My heart becomes so warm from these memories, it is always a pleasure to see the birth of a new family of two loving hearts. Photography: Sonya Khegay | Event Design: Latte Decor | Event Planning: Ajur Wedding | Floral Design: Blush Petals | Wedding Dress: La Sposa | Stationery: Special Invite | Bride's Shoes: Gianvito Rossi | Hair + Makeup: Natalie Yastrebova | Venue: Rodniki Hotel by Elizabeth Greene You really can’t go wrong with simple: a beautiful Bride , perfectly pretty petals , loved ones all around. But add in an amazing firework show  to cap off the night and simple just became downright extraordinary. Captured by Lena Elisseva , with assistance by  Katya Butenko , this rustic Russian celebration is simply fantastic. See it all in the Vault right here ! From Lena Eliseeva Photo …  This cozy and warm summer wedding of gorgeous Natalia and Anton was in the middle of June. The young couple decided to organize their wedding themselves, and the day was very personal and touching. I am absolutely in love with rustic outdoor weddings, and this one is my favourite because of the free and easy atmosphere. All the decor excluding the bride’s bouquet was made by a team of ten friends of the bride and groom. And it was charming – a light and beautiful arch, eco-style polygraphy and succulents, candy-bar with caramel apples and berries – sweet joys of summer. At the end of ceremony the guests tossed up white handkerchiefs embroidered by Natalia’s own hands. The most touching moment was the happy eyes of the groom’s grandmother, the most estimable person on the wedding. And the fireworks were a bright end to that beautiful day. Photography: LENA ELISEEVA PHOTO | Floral Design: Katerina Kazakova | Hair And Makeup: Svetlana Fischeva | Photography - Assistance: Katya Butenko These photos from Lena Kozhina are so stunningly beautiful – as in you can’t help but stop and stare – it’s hard to believe it’s real life. But these pics are proof of this gorgeous Bride and her handsome Groom’s celebration at Moscow’s Fox Lodge , surrounded by vibrant colors and breathtaking blooms . Oh, and the idea of prepping for your Big Day outside in the sun ? Brilliant. See more bright ideas right here ! From Lena Kozhina … When we met with the couple for the first time, we immediately paid attention to Dima’s behavior towards Julia. There was a feeling of tenderness and awe, and we immediately wanted to recreate this atmosphere of love, care and warmth on their Big Day. Later, when we had chosen a green meadow and an uncovered pavilion overlooking a lake as the project site, it only highlighted a light summer mood with colorful florals and a great number of natural woods. The name of the site is Fox Lodge and peach-orange color, as one of the Bride’s favorites, set the tone for the whole design – from the invitations, in which we used images of fox cubs to elements of serving guest tables and other decorative elements with the corresponding bright accents. Photography: Lena Kozhina | Event Planning: Ajur Wedding | Wedding Dress: Rosa Clara | Shoes: Marc Jacobs | Catering: Fox Lodge | Makeup Artist: Elena Otrembskaya | Wedding Venue: Fox Lodge | Cake and Desserts: Yumbaker | Decor: Latte Decor From Our Partners 385 IMAGES English worksheets: room description Writing: How to Describe a Room ⛔ Creative writing describing room. List of Great Adjectives to Creative Writing: My Ideal Bedroom #…: English ESL worksheets pdf & doc bedroom description paragraph Writing: description of a room VIDEO READ ROOM DESCRIPTION SLOW MCS Saying Goodbye to my Small Craft Room Short essay on My Room in English @SelfWritingWorld Painting my DOOR😍😇| Room decor series🥳 #youtube #shorts #diy Self-introduction_week_2(06_Ashraful/アシュラフル) Sample Room Description COMMENTS Al's Writing Block: Writing: How to Describe a Room The old man lit a candle that was on the table with a makeshift lighter. The candle illuminated the room, revealing the old man's face to Kurt. The old man went to the corner of the room, where a tub of water sat idle. Kurt noticed that the man rigged a purification system over the tub, allowing him access to relatively clean water. Setting Description Entry: Bedrooms Setting is much more than just a backdrop, which is why choosing the right one and describing it well is so important. To help with this, we have expanded and integrated this thesaurus into our online library at One Stop For Writers.Each entry has been enhanced to include possible sources of conflict, people commonly found in these locales, and setting-specific notes and tips, and the ... A room a room. - quotes and descriptions to inspire creative writing. A room is so much more than the sum of its parts when it encourages the soul to breathe. By Angela Abraham, @daisydescriptionari, March 17, 2021 . A room can be small and perfect, plain and relaxing, simple and inviting. By Angela Abraham, @daisydescriptionari, March 17, 2021 . How to Describe an Apartment in a Story The character who calls this place home is outgoing, social, and thrives in a bustling environment. This liveliness plays a significant role in shaping the character's experiences. You can use this description to give them a sense of belonging or spark their creative juices. 5. Serene Definition. Calm, peaceful, and untroubled. Examples Writing Activity: Describe A Living Room Albert Chevallier Tayler - The Council of Three 1888. 'The Living Room,' (1941) is William McGregor Paxton's final painting. The interior of his house in Boston. Stephen Darbishire, a Lake District painter. Edouard Vuillard's friend and patron Mme Louise Gillou was a wealthy art and theatre aficionado. 57 Best Ways to Describe Buildings in Writing (+ Examples) Marble: Conjures images of opulent palaces or Greek temples. Wood: Wooden lodges or cabins evoke feelings of nature, simplicity, and coziness. Glass: Mostly seen in modern office buildings or high-rises, suggesting transparency and sleek design. 3. How To Write Descriptions And Create A Sense Of Place Use Unfamiliar Locations. And smart research ALWAYS helps. Using unfamiliar settings adds real mood and atmosphere. Stephenie Meyer, when writing Twilight, decided she needed a rainy place near a forest to fit key plot elements.. Like protagonist Bella, she was raised in Arizona, but explained the process of setting Twilight in an unfamiliar setting on her blog: How to Describe a Room in English They might say something like: It is 6 metres long and 3 and a half metres wide, so that is 21 square metres in size. You don't need exact details on the size of the room. You don't need to talk like this. Not unless your job requires that you are exact. But most people have no idea how big the rooms are in their home. How To Describe A House In Writing (11 Best Ways) Walk through each room, starting with the main living spaces. Describe the layout, size, and purpose of each room (kitchen, living room, bedrooms, etc.).Note any unique or standout features, like a fireplace, hardwood floors, or high ceilings. Discuss the decor, paint colors, and overall interior design. Room Description? How? The same goes for positive words if the character is meant to feel comfortable. This works as an initial description if the furniture isn't overwhelmingly packing up the space or if the room isn't depressingly empty. However, if the furniture does have a deep effect on the room in terms of how it fills it up, that is what a character will most ... Room With a View: Creative Writing Exercises Allow yourself to write whatever comes to mind and don't think too hard about it. You can always edit it later. Exercise Two - Room with a View. Windows and the views from them can be a rich source of inspiration for writing. They're a boundary between one space and another, but a transparent boundary and a natural frame for writing. How would you describe this room? Otherwise that is what I would describe it as in terms of what it looks like, using the main features of the room itself. It was of columns that held the ceiling high and off the marble floor, and the large panes of glass filling the archways of the ornate pillars. List of Great Adjectives to Describe a Room Mike's room has coral walls. Take the room located on the second floor. The room has an ambiance of peace and rest. Best Adjectives to Describe a Room. These adjectives give a general idea about the character of a room. Some of these adjectives are bland, crowded, cozy, dark, and plain. The description of a room might be the following: Simple ... How to write good room descriptions? It is buried in a list of things. It's a noun the player can explore, or one you forget to implement. A room description is the starting point for revealing the world. A room description might be dynamic - it changes in response to a players actions, and, as such, it becomes a part of the narrative drive. Room descriptions can do alot. McT 15 Inspiring Writing Room Design Ideas to Foster Creativity The Best 15 Writing Room Design Ideas. Although there are many options to decorate your writer's corner, you need to try some of the following ones - they'll help you get your creative juices flowing! Maximize Natural Light. Writers don't need many things to engage in their craft. In many cases, you may require a pen and some paper. An Old-fashioned Room Oliver - Year 7 Student Editor's Note: Students were asked to complete the following creative writing task under timed conditions: 'Describe an old-fashioned room as suggested by the picture'. Oliver's response demonstrates some truly fantastic writing. ADM The room had a musty odour, evocative of grandparents' houses - the type that makes you feel safe… Hotel Room Description Writing for more Sales In this hotel room description writing sample, we let it speak for itself: "Elegant, inviting and with a wonderful view over the city and the beautiful park -. this is how my hotelier imagined his Sun-Room, and I have to admit that I am so proud of the result. The view from my hotel room window alone is worth the trip. Dystopian Creative Writing: The Room Here is an excellent exemplar of creative writing based on the conventions of Dystopia. This is a student piece written by Mohamed Zakaria bin Mohamed Said. It is entitled, 'The Room'. Thank you for sharing your writing. The Room The small dull-grey clock read 8:30am. I rise from the simple white linen and I look…. How to describe hotel room? What should you start writing room descriptions from? It is good to start with brainstorming and writing down all information that you think might be of importance and interest to guests. Talk to the reception staff - they know what guests ask about and what arguments influence positive decisions. Don't start writing just yet! Elektrostal Map Elektrostal is a city in Moscow Oblast, Russia, located 58 kilometers east of Moscow. Elektrostal has about 158,000 residents. Mapcarta, the open map. Category:Elektrostal Files are available under licenses specified on their description page. All structured data from the file namespace is available under the Creative Commons CC0 License ; all unstructured text is available under the Creative Commons Attribution-ShareAlike License ; additional terms may apply. Category : Government buildings in Moscow Oblast Subcategories. This category has the following 5 subcategories, out of 5 total. G. 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