creative writing description of landscape

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May 7, 2022

Writing scenery: 5 ways to evoke captivating worlds

Creative writing is a powerful window to express ideas and perspectives that you want to share.

While the plot and themes of a story are integral to the overall piece, writing scenery can evoke not just the setting but the emotional mood and unique lens which your story offers.

To give you some ideas for painting a vibrant scene, here are 4 personal tips for writing scenery that I’ve found useful!

1. Describe the senses when writing scenery

An image of a sunset with a tree beside a lake. There are two birds next to the tree, and there are delicate vines and shrubbery covering the land.

What are the key details in your scene? Consider how these could be depicted using more than one sense. Consider taste, smell, touch, sight, sound, or other elements like temperature or motion.

How should you describe sensory stimulus? One way is explicitly stating it, although it is often advised to use a degree of subtlety when applying sensory language. Direct use of words like ‘sound’ and ‘smell’ can be modified by instead using literary devices like metaphor, personification, or simile which stylize the description. Consider what imagery or associations the sense evokes . Utilizing descriptive words ties in these associations. The overall image summons undertones of the associative meanings.

2. Add evocative or action-related words

Evocative action-related words can also help to describe fictional stimuli when describing a landscape. For example, using action-focused words like ‘whispering’, ‘buzzing,’ and ‘cracking’ give insight into both the action and attributes of a given sound, without overtly detailing it.

Action words could be used to describe many senses or other details.

Examples of scenery description words like

‘wafting’
‘attacking’
‘whispering’
‘tinging of the air’

and other may be especially useful for describing smell.

When describing sound, verbs and action words may also be useful. You could consider words like:

and others.

Researching similar action words for specific scene will give more appropriate words for the landscape that you’re describing.

A choice of specifically powerful words may induce multiple layers of imagery that contribute to the description in the scene. Writing about ‘warm, cinnamon-apple tinged air’, for example, indicates the sense of smell while also possibly conjuring imagery of red apples and earthy cinnamon. The addition of a temperature-related word adds to the atmosphere of the imagery.

3. Inspire emotional mood and climate

An image of a bluish cat with a heart in its centre, giving off a sparkly-looking glow. The image has slightly scratchy a texture similar to wool.

The piece of story that details the physical stimulus of scenery can fold multiple layers of meaning, like feelings associated with the scene, or crumbs of the emotional atmosphere that the plot is directed towards.

When considering your word choice, add in descriptive words that evoke not only scenery-related imagery but emotion. By using emotive adjectives, but also more subtle words that connect to the potential concepts you want to convey in your story. Perhaps replace blander words with verbs that connect to an emotive action or use metaphors that evoke imagery while also hinting at a character’s thoughts. A metaphor describing scenery could also have a double emotive meaning or foreshadow ideas to be discussed later.

When describing the physical details of a forest, you could use this as an opportunity to evoke the energy of the landscape.

In this example, words like ‘dry’, ‘needles’, ‘crackling’, ‘ghosting’, ‘huddled’ give a haunting aspect to the scene.

The dry crackling of leaves under foot .

The huddled pine trees, their needle-leaves ghosting long shadows across the ground .

4. Incorporate physical details of the scene

Remember to describe the key elements of the scene. Consider what necessary details compose the fictional surroundings to give an impression of the appearance. Perhaps consider how you would describe the scene if it was a movie, or how you would think about it if you were newly experiencing it yourself.

5. Add details to the scenery, yet keep it concise

Image of a girl hovering over a plain brick background with a small book. A view of a starry sky extends from the book.

Although using a range of literacy devices and descriptions will give a better mental picture to represent your scenery, remember to display the key details in a way that reaches the purpose of your descriptive writing.

Are you trying to convey emotion? Describe an integral setting for the plot?

Try to leave out words that don’t contribute to what you’re truly aiming to communicate. Numerous paragraphs of description will often be difficult for readers to follow… (though usually, I end up overwriting setting anyway).

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August 4, 2023 — 11:22 am

Very nice blog post. I certainly appreciate this sіte. Thanks!

Stelle Lunere

Creative Writing
creative writing , scenery description , tips , word choice , writing scenery

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About Words – Cambridge Dictionary blog

Commenting on developments in the English language

Describing landscapes

by Kate Woodford

Have you ever wanted to describe an area of the countryside but found you didn’t have the right words? If so, we’ll fix that this week with a look at words and phrases that we use to describe different landscapes .

To start with the most basic description, an area of land that is mainly covered with grass or trees is often described as green : There are so few green spaces in the city. An area that is especially green, in a way that is attractive, may also be described as lush : lush green valleys . A more literary word for this is verdant : All around her were verdant meadows.

Meanwhile, a landscape that has few or no plants because there is so little rain may be described as arid : Few animals can survive in this arid desert landscape. (A technical description for an area that has little rain but is not completely dry is semi-arid : a semi-arid zone. )

Land that is extremely dry because rain has not fallen for a long time is often said to be parched : parched earth/fields. Sun-baked , meanwhile, describes land that is hard and dry because it has received so little rain for so long: The sun-baked earth was full of cracks.

Other words describe the shape of the land. A hilly area has lots of hills: The countryside round here is very hilly. The phrase rolling hills is often used in descriptions of attractive landscapes with many gentle hills: Everywhere you look, there are rolling hills. The rather literary word undulating is also used to describe this type of landscape: This picturesque village is surrounded by undulating hills.

Meanwhile, a landscape with bigger hills – mountains – is mountainous : a mountainous region . If those mountains have snow on the top, they are often referred to as snow-capped : a snow-capped mountain range.

Still with the shape of the land, craggy describes an area with lots of rocks sticking out: a craggy coastline. Rugged is very similar, describing an area of land that is wild and not flat: These photographs really capture the rugged landscape of the region.

Of course, not all landscapes are green and hilly. An area may be flat . If there are no trees, hills or other interesting features, it may appear rather featureless : It was a grey, featureless landscape.

Two negative adjectives that are sometimes used to describe featureless landscapes are bleak and desolate . Both are used for areas of the countryside that seem empty and cold, with nothing pleasant to look at: The house stands on a bleak hilltop.

Another adjective sometimes used in this context is windswept . A windswept area of land has no trees or other high structures to protect it from the wind: The picture shows a desolate, windswept landscape.

When were you last out in the countryside? How would you describe the landscape?

46 thoughts on “ Describing landscapes ”

I was born in the countryside so my village is surrounded by beautiful green landscapes. It’s situated near the delta of the river Volga which is the longest river in Europe. Though a little bit far from the river there are sun-baked steppes. Some people find them featureless but I think every place on the Earth has its own charm. You can even see barkhan dunes there. It’s an amazing view. Last month I spent my holidays in Phuket, Thailand. It has so wonderful hilly landscape. There are so many jaw-dropping views there. It’s worth to be seen. Thank you for your posts! They all are very helpful!

That’s a very nice descriptive piece, Ekaterina. Thank you for that!

I agree with you, Ekaterina there is no place on the earth without a special way of charming.

Lush green vegetation from the Isle of Spice, is what I am looking at when I look out the window.

Lucky you! Sounds fabulous.

You got a point there

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My live in Cauquenes a little town in Chile , this place is surrounded by trees and lush green areas, rather verdant meadows, my country also has the most arid desert in the world “Atacama Desert” amazing place to visit; for the most part of the center of the country we can find a semi-arid zone, mind-blowing beaches, rivers and rolling hills all converging in the central zone (which I live) quite mountainous by the way.

Thank you for the help with my vocabulary. regards.

You’re very welcome, Felipe! Thank you for the lovely description.

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When I go to Tarhona, my countryside, the green spaces (the farms) in front of my eyes, the blue spaces (the sky) above my head and the golden spaces (the sand dune) behind my back is the poem that makes me dance with the pleasure of colours.

I live in a small town and like most of our inhabitants I also live in a block of flats. It doesn’t sound interesting at all but when I look out of the window I can see Black Sea coastline, I can sea its “mood” changing, its melting sunset and from the other window I can see mountains and today they are snow-capped they seem to exhale frosty air on our town. When I see these views I feel the eternity of life and nothing can trouble me.

I live in the main part of the city in Chennai, Tamil Nadu, India. I hardly find green spaces in the city. But God’s grace there is a park nearby where one can find some trees.

I used to live in a mountainous city, Amman – Jordan. Around 3 millions people is living on a 7 mountains. Transportation is not that easy in the city, in which lots of people still using long concrete stairs to move.

I am from Ipele in Nigeria, a beautiful small town surrounded by hills. Everywhere you turn your eyes, you see rolling hills so green and full of life. Should you move towards the eastern part of the town, you will encounter different species of trees hanging on the hills in a way that one will find it difficult to explain the friendship between nature and creation. Running slowing is a stream that runs from up one of the hills to form a pool at the lower valley. The pool is known as Ashiyan. At the other side and near the pool is another hill from under which a small spring do come out to form a small pool called Lala. The two pools are together but their water do not mix. Lala’s water is so crystal clear that people mostly take it for drinking while that of Ashiyan is brownish. It was rumored that if the two waters are put in the same glass bottle, the bottle will break. A remarkable observation is that the butterflies playing on the two pools are equally different as well. Colourful butterflies can be seen on Ashiyan while only white butterflies are seen on Lala. The breeze in the area is always lovingly cool no matter how hot the heat of the sunshine. Adding to the scene of the place are the melodious and beautiful sounds coming from the birds on the surrounding trees. The place possesses its own remarkable and special way of charming that is so striking.

lovely description

I live in Noida, India and it has very few green spaces left due to rapid urbanisation and industrialization. However, we can get to see lush in few parks but that is not sufficient for a healthy environment.

I live in hilly area, which could be described as countryside. The town is surrounded by trees and wood. There is many rolling hill and lush green landscapes.

please write about describing wind movement ( like windy day …) and also for rivers. Thankyou for this post . It is very helpful

Hi Meetu. Thanks for your nice comment. This blog might be of interest? https://dictionaryblog.cambridge.org/2017/04/26/sweltering-torrential-and-gusty-interesting-words-for-talking-about-weather/

Thank you very much for your reply. It is very helpful for us.

It is a very profitable blog post for me. I’ve enjoyed reading this. It is very informative and useful post.

Region where i live is featureless. i would love to reside near hilly or mountainous areas.however,in my country there is a huge lack of green spaces.

Hey i want to learn how to describe a landscape(which ever it is) in the most catching way. Can you help me out?

Reblogged this on NaN .

I was trying to do Geography homework and this didnt help at all.

Thank you very much, that was interesting !

Could you make an article about words describing the beauty of landscapes, like bucolic (or pastoral), and with adjectives or adverbs who help to imagine this beauty, like “as far as the eye can see”, please ? Thank you ! 😉

My hometown is a small village located in southeast of China where hilly spaces are everywhere covered with lush green forest. Far away from bustling city, inhabitants are living a slow-paced life-style here. Geographically, there is no mountain, no particularly worth-mentioning landscape. It would be a generally a flat and featureless land if it were without green spaces. Characterizing by a multitude of elderly people as the young are seeking prosperous in big city, my hometown has became a place without vitality.

Very helpful.

Dear Kate, Thank you for sharing the knowledge which is of great help for me.

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Thanks for your good explaination of landscapes

You’re very welcome!

Thanks for the lesson how I can express my emotions when I see different landscapes.

One of the most charming and picturesque places I’ve ever visited is by far the legendary Peles Castle, located nearby Sinaia, a mountainous Romania’s region. Well-known for being the first castle in Europe on having electricity, central heating, an elevator and even a mobile glass ceiling, among other innovative things, it’s surrounded by glamorous and lush gardens full of fantastic statues and vantage points with breathtaking views. If you want to escape the daily pressures of life, enjoying fascinatingly verdant and unspoilt places, Peles Castle and its undulating hills is definitely the one I’d recommend visiting. Exceeds all visitor’s expectations.

Well, Mihaela, you’ve made me really want to visit it! It sounds fantastic. Best wishes from Cambridge.

This is the way to learn English writing! This article is gem! Are there more articles like this? Thank you Kate!

Hi! Thank you so much! We haven’t written any more specifically on this theme, but we publish one every week (on a Wednesday) so do keep checking in. Also, you can search for posts containing specific words using the search facility on the right. Best wishes from Cambridge!

What an informative article never knew there were so many different ways to say landscaping. thanks again

Thanks, Hector! I’m so glad you found it interesting.

I live in a extraordinary place and wow. The hills are hilly and greens are greeny.

Thank you! It’s very useful!

Thanks you so much

I live in an urban area, with countless block storeys and not mush spacing between them. The landscape is more or less a featureless and craggy. Looking across the horizon, there are many trees across and rolling hills at the far ends.

Describing Words for Landscape: Examples & Adjectives

When it comes to describing the beauty of a landscape, words have the power to transport us to breathtaking vistas and evoke a sense of wonder. As a writer and avid traveler, I have always been fascinated by the variety and richness of landscapes around the world. In this article, I’ll be sharing with you some of the most captivating adjectives that can be used to describe landscapes, along with examples that will bring these words to life.

From the rugged peaks of majestic mountains to the serene tranquility of rolling meadows, landscapes offer a myriad of experiences for our senses to feast upon. As we explore the descriptive power of adjectives, we’ll uncover words that capture the essence of these natural wonders. Whether you’re a fellow wordsmith looking to enhance your writing or simply an admirer of the beauty of nature, this article will provide you with a treasure trove of adjectives that will help you paint vivid pictures with your words.

So, without further ado, let’s delve into the world of adjectives for landscapes and discover the perfect words to describe the awe-inspiring beauty that surrounds us. Get ready to be inspired and transported to the most breathtaking corners of the Earth through the power of words.

Table of Contents

How to Describe landscape? – Different Scenarios

When it comes to describing landscapes, there are endless possibilities. Each landscape has its own unique features and characteristics that can be captured using different adjectives. Here are a few scenarios where you can use specific adjectives to paint a vivid picture of the landscape:

1. Majestic Mountains

Mountains evoke a sense of grandeur and awe. To describe mountains, you can use adjectives that highlight their impressive size, ruggedness, and beauty. Some examples include:

Towering: The towering mountains loomed over the valley, casting a shadow on the landscape.
Majestic: The majestic peaks of the mountains seemed to touch the sky.
Serene: The serene mountain range stood in silent contemplation, with snow-capped summits glistening in the sunlight.

2. Tranquil Lakes

Lakes are known for their calm and peaceful aura. To describe a lake, you can use adjectives that emphasize its tranquility, clarity, and reflective nature. Here are a few examples:

Crystal-clear: The crystal-clear lake mirrored the surrounding trees, creating a breathtaking reflection.
Serene: A gentle breeze ruffled the surface of the serene lake, creating ripples that expanded outward.
Tranquil: The tranquil lake offered a peaceful respite from the hustle and bustle of everyday life.

3. Lush Rainforests

Rainforests are teeming with life and greenery. To describe a rainforest, you can use adjectives that convey its lushness, biodiversity, and vibrant atmosphere. Consider these examples:

Verdant: The verdant rainforest was a vibrant tapestry of shades of green, dotted with colorful tropical flowers.
Teeming: The rainforest teemed with life, from birds chirping in the trees to monkeys swinging through the branches.
Dense: The dense canopy of the rainforest blocked out much of the sunlight, creating a mysterious and captivating atmosphere.
Idyllic: The idyllic beach stretched as far as the eye could see, with the gentle waves lapping at the shore.
Paradise-like: The paradise-like beach offered a slice of heaven with its soft white sand and crystal-clear waters

Describing Words for landscape in English

When it comes to describing the beauty of landscapes, the right choice of adjectives can bring them to life in our minds. As a writer, I understand the importance of finding the perfect words to paint a vivid picture of a landscape. In this section, I will provide you with a variety of describing words that you can use to enhance your descriptions and transport your readers to the wonders of nature.

Majestic Mountains

Towering peaks
Snow-capped
Breath-taking

Tranquil Lakes

Crystal-clear

Lush Rainforests

Teeming with life

Idyllic Beaches

Picturesque

Using these adjectives will help you create a sensory experience for your readers, making them feel like they are right there, soaking in the beauty of the landscape you’ve described. But don’t just take my word for it, let’s look at some examples to see how these words can be used effectively:

By incorporating these describing words into your writing, you can bring your landscapes to life and captivate your readers. Remember, choosing the right adjectives is the key to transporting your audience to the beauty of nature.

Adjectives for landscape

In this section, I’ll provide you with a list of positive and negative adjectives that can be used to describe landscapes. These adjectives will help you create vivid and engaging descriptions of various natural settings. Let’s dive in!

Positive Adjectives for Landscape

Breathtaking : The view from the mountain top was absolutely breathtaking.
Serene : The tranquil lake reflected the serene beauty of the surrounding trees.
Picturesque : The small, picturesque village nestled in the lush green hills.
Majestic : The majestic mountains stood tall and proud against the clear blue sky.
Idyllic : The idyllic countryside was dotted with vibrant wildflowers.
Enchanting : The enchanting forest was filled with the melody of singing birds.
Captivating : The captivating sunset painted the sky with hues of orange and pink.
Exquisite : The exquisite waterfall cascaded down the mossy rocks.
Serenity : The landscape exuded a sense of serenity, allowing me to recharge.
Verdant : The verdant meadow was a carpet of lush green grass.
Scenic : The scenic coastal drive offered breathtaking ocean views.
Radiant : The radiant sunrise painted the sky with shades of gold and pink.
Barren : The barren desert stretched for miles, devoid of any signs of life.
Grim : The grim and desolate landscape left me feeling unsettled.
Harsh : The harsh and unforgiving terrain made it difficult to traverse.
Sparse : The sparse vegetation hinted at the arid conditions of the landscape.
Sombre : The somber forest, cloaked in darkness, gave an eerie feeling.

These adjectives can help you paint a more realistic and nuanced picture of landscapes. Whether you want to highlight the beauty and tranquility of a scene or capture the harshness and desolation of a terrain, choosing the right adjective can make all the difference in engaging your readers.

Remember to use these adjectives judiciously, ensuring they accurately convey the specific aspects of the landscape you are describing. Happy writing!

Remember, we don’t need a conclusion paragraph for this ongoing article.

Synonyms and Antonyms with Example Sentences

Synonyms for landscape.

When it comes to describing landscapes, having a wide range of synonyms at your disposal can help you create more vivid and engaging descriptions. Here are some synonyms that can be used to enhance your writing:

Example Sentences:

The scenic landscape was like a painting come to life.
The breathtaking view from the mountain top left me in awe.
I couldn’t help but admire the panoramic beauty of the countryside.
The lake looked so serene as the sun set behind the mountains.
The majestic mountains stood tall and proud against the blue sky.
The small cottage was situated in an idyllic setting, surrounded by colorful flowers.

Antonyms for landscape

In addition to synonyms, antonyms can also be helpful in providing contrasting descriptions of landscapes. Here are some antonyms for landscape that you can use to add depth to your writing:

The weather was so dreary that even the vibrant landscape seemed dull.
Compared to the breathtaking mountains, the view from the top of the hill felt rather unremarkable .
The barren desert stretched out for miles, with no signs of life.
The chaotic landscape with its scattered rocks and uneven terrain made hiking a challenge.
The polluted river was a stark contrast to the pristine landscape that surrounded it.
The uninviting swamp made us think twice about venturing further into the wilderness.

By incorporating these synonyms and antonyms into your writing, you can enrich your descriptions and create a more captivating portrayal of landscapes. Remember to choose words that best capture the essence of the scene you’re describing, whether it’s the beauty and serenity of a scenic vista or the desolation and chaos of a dreary landscape.

In this article, I have explored the power of words in describing landscapes and provided a comprehensive list of synonyms and antonyms that can be used to create vivid and engaging descriptions. By carefully choosing the right words, writers can accurately convey the unique characteristics of the landscapes they are describing.

Throughout the article, I have emphasized the importance of incorporating these synonyms and antonyms into writing to enrich descriptions and create a more captivating portrayal of landscapes. Words such as “scenic,” “breathtaking,” and “majestic” can help paint a picture of beauty and awe, while antonyms like “dreary,” “unremarkable,” and “polluted” can convey a sense of negativity or decay.

By utilizing these descriptive words, writers can bring landscapes to life, allowing readers to visualize and connect with the natural world. Whether it’s a serene mountain range, a vibrant sunset, or a bustling cityscape, the right words can transport readers to these places and evoke powerful emotions.

So, the next time you find yourself wanting to describe a landscape, remember the power of words and choose your adjectives wisely. Let your descriptions captivate and inspire, creating a lasting impression on your readers.

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landscape - quotes and descriptions to inspire creative writing

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The reflective greens of the landscape glowed brighter in the strengthening light.

The landscape was a marriage of rainbow hues congregated in the greens.

The landscape rose to meet the rising sun as a proud child shows a parent their accomplishment.

A verdant landscape rose as if taking in mighty breaths of country-pure air.

The barn blossomed on the hill amid the grass and the meadow flowers, as if one day it sprung up from some precious seed. I guess what I'm saying is, it belonged there, and if it were absent the picture of that landscape would be missing something very special. So though the timbers were aged and the light that streamed in from the holey roof illuminated the dust like ethereal confetti - it was truly a great place, I loved it.

Rock arose from the ground as if it reached for the sky - the peaks of the Alps sculpted by the raindrops of eons. They were green at their base, the forests gathered by nature's wand. Then there were the roads that climbed the Alps, wending this way and that, making tight turns that felt for all the world as a fair ground ride.

The landscape sings her lullaby in sweet nostalgic hues.

The landscape sang to the sunlit cloud that it was in eager anticipation of much rain.

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How to Describe a Landscape

They are many and varied, so I’ll just touch on each. These, as usual, come from writing I admire, so don’t copy them. Use them to inspire your own creativity:

Dusty, flat, featureless land–is that your setting?

Great sandstone outcropping
Easing over humps and trenches, potholes and stone rivers, bashing through the trees where a track is blocked, the bucking climbs up steep eroded banks
This wasn’t a Sahara-like desert of sand dunes. There were sporadic tufts of trees, acacia and baobab, and on-again off-again grasses and shrubs as far as the eye could see atop the brown earthen crust, a surface that looked as hard as stone and somehow even less inviting.
A large outcropping of bundled roots from the remains of a dead baobab had broken free from the hard pack alongside the road and needed to be negotiated, a dry wadi that crossed the highway required downshifting to safely cross,
The miles, the motion, the flat wide-open land, the twisted Joshua trees and the hot orange sunsets.
because of the time and the approaching rain, followed small antelope trails instead of the larger buffalo trails, and in this way kept to a more direct route
dust was everywhere—on leaves, branches, even on my teeth and lips
Narrow rocky defile
Beneath the jutting stone ledge, she sat hunched into a ball, knees tight against her chest, her damp clothes about her.

Or is it the rugged, craggy mountains of Alaska?

distant harsh mountains are composed of granite, covered with thorny shrubs and acacia trees (Africa)
mountains, thrusting spires of naked rock into the heavens so high that you would believe the very sky was pierced
bounded on three sides by basalt outcrops and partially screened by brush
followed the ridge down toward a patch of grass
Olduvai appeared like a dark rift
The river was a vigorous and optimistic blue
back to a rotting log that some long-forgotten flood had deposited crossways on the spit
mouth of a thick sulfurous stream
watch the river (like a snake) to see the coiling of its muscular currents, catch the shimmering of waves that caught the sunlight like scales
dry creek bed

How about a thick verdant forest, dappled with sun?

the gallery forests of river red gum, various grasses, that lined the channels. Maybe a low-lying area where runoff from high ground collected after rain. Sometimes dense stands of mulga (acacia) woodland would grow there, where water was easiest to find in a desert.
swallowed up by the jungle
thickly scented spruce branches clutched at his clothes, slapped against his chest and shredded his hand
thick forest that carpeted the uplands
Along its length, cottonwoods had sprung up; young trees little more than twice a man’s height. Thick grass had carpeted the narrow strip
Cracks like hardweed through a broken sidewalk
Gordian knot of one-way streets
he saw Russia. He saw its fields, steppes, villages and towns, all bleached white by the moon and bright stars.
Contour lines
Man-made objects
Hawkes Pond gleamed through a very thin fringe of trees. It was a long narrow pond and across it the land rose up in a wooded hill crowned with power lines.
Splashing through somewhat deeper water, meter-tall sedge beds, speed is very slow and awkward.
Reeds and cattails, bunchgrasses, dense thicket, (present as small mounds 10-15 cm tall
Grass covers mounds, depressions that you would tend to stumble in as you walk
Croc-infested rivers during rainy season would inhibit large mammal movement
Mts (rain shadow), rivers (flood), lakes (subterranean water)
African habitats (mosaic pattern): forests (groundcover is ferns), woodlands (ground cover is grasses, no canopy)), bushlands (tree species grow as bushes with multiple stems, more fruit) with thickets, shrublands (scrub or dwarf woodlands), grasslands, wooded grasslands, deserts
Plants: euphorbia, cacti,
Grassland—-plateau, open country, velds, scrubland, deep washes, wadis, gully, arroyo, wash, cut, creek
Grasses—poacea Hyparrhenia diplandra, forbs, coarse and grows in tufts, euphorbia
Savanna vegetation—corms, bulbs, tap roots, rhizomes
Found a very nice outcropping of rocks just over the crest, the kind of place snakes love.

Jacqui Murray is the author of the popular prehistoric fiction saga, Man vs. Nature which explores seminal events in man’s evolution one trilogy at a time. She is also the author of the Rowe-Delamagente thrillers and Building a Midshipman , the story of her daughter’s journey from high school to United States Naval Academy . Her non-fiction includes over a hundred books on integrating tech into education, reviews as an Amazon Vine Voice , a columnist for NEA Today , and a freelance journalist on tech ed topics. Look for her next prehistoric fiction, Savage Land, Winter 2024 .

52 thoughts on “ How to Describe a Landscape ”

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Thank you for this!! I’m 14 and writing my own book, and this was very helpful 🙂 I’ll definitely be coming back

Like Liked by 1 person

Well aren’t you amazing! You have so much fun ahead of you, as a writer. There are about 70 of these description lists. Enjoy them!

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Really good site thanks

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Brilliant post, I feel that the ability to describe landscapes is an indispensable skill that every author and poet must possess to a reasonable degree. The words hills and valleys are particularly beautiful to my eyes, reminds me of those wonderful opening lines from Marlowe’s poem “The Passionate Shepherd to His Love”:

“Come live with me and be my love, And we will all the pleasures prove, That Valleys, groves, hills, and fields, Woods, or steepy mountain yields.”

I have a lot of respect for the likes of Peter Matthiessen, who can so beautifully describe nature.

I am not well acquainted with Matthiessen’s works, although I am aware of his well deserved and venerable reputation in literary circles. From the excerpts of his writings I have read, I agree that his prose is indeed rich with beautiful detail, and I plan to buy a copy of his Snow Leopard in the future.

One he is so well known for. I like “The Tree Where Man Was Born.”

Reblogged this on quirkywritingcorner .

Thanks for the reblog!

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The description of the naked rocks piercing seemingly piercing the skies is amazing!

What a visual picture, hunh? I wonder how some of these writers come up with this stuff.

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I am amazed by the fact that, this blog is equally attractive for both young and old readers. I am 60 years old, have read a lot of books, used to write when I was in my teen years.I have plenty of time now, after bringing up my family on my own, recently discovered that spark still there, and this blog is icing on the cake, well done!! Keep it up!!!!

Thanks, Tahira. I’m over 60, so we’re almost like sisters. I did the same as you–waited until the two children were launched to ignite my love of reading and writing. Now, I’m in full bloom.

Great collection, Jacqui. It gives us plenty to build on with our own imaginations. Thanks for sharing. — Suzanne Joshi

For me, landscape is as much about atavistic reactions as what I see. I love reading authors who can really describe what they see.

Excellent post, Jacqui. What a collection you’ve amassed. I think what really makes a description stand out is the ability of the writer to make the reader feel familiar with the place, as though they’ve been there before. And that happens when the writer really knows exactly what he’s looking at, how it feels and smells, all the details that express the uniqueness as well the intimacy to be universal. I wonder how your very young readers/followers are doing now? Hope they are still writing. Nice that you attract a range of readers, all of whom find you blog helpful.

That is so tricky, too. These caught my attention because they did put me right there, even places I’ve never before been.

Reblogged this on The Well-Rounded Writer .

Thanks for the reblog, Elizabeth!

Love this. Really useful and inspiring terms!

I love nature. Writers grab me with great outdoor descriptions.

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When I’m describing a landscape, I find I either repeat myself (definite no-no) or my words are bland and boring. I need some pop and pizzazz.

That’s what made me start these lists. Seeing how others describe landscapes and dogs and emotions helps me tap my well of words. Thanks for visiting

I’m 15 and lately I’ve been having difficulty describing some scenes in the stories I write. I absolutely love this blog! It’s so creative, and it’s great that it’s here to help give me some inspiration!

This collection of ‘descriptors’ is perfect for you, Victoria. These are all from books I’ve read–how great authors describe whatever the topic is. Use them for inspiration. Let me know if you’re looking for any particular collection. Maybe I have it.

Here’s the whole list: https://worddreams.wordpress.com/category/descriptors/

very creative..loved this post..thanks for sharing and I really like your writing style Jacqui

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I’m new to writing, only 14 and your blog really helps me ^.^ Thanks a lot and I wish you the best of luck

You’re the perfect age to start writing. I wish I’d started then.

Thanks, a lot. That’s very useful.

These are some of my favorite phrases. They create effective visual images in my brain. I’m glad you like them.

Don’t you love those dusty cowboys at the top of the post? I could write a whole book about that feeling.

i luv word-picture-paintings

Thanks, Faith. I have a massive list of wonderful descriptors I go to when I’m stuck. They never fail me.

Ooh, Jacqui! I want to think like that, write like that. Beautiful examples! I love that I can always come to your blog and find real handles on writing. Thank you!

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Description Entry: Desert

August 30, 2008 by BECCA PUGLISI

A landscape of sand, flat, harsh sunlight, cacti, tumbleweeds, dust devils, cracked land, crumbing rock, sandstone, canyons, wind-worn rock formations, tracks, dead grasses, vibrant desert blooms (after rainfall), flash flooding, dry creek…

Wind (whistling, howling, piping, tearing, weaving, winding, gusting), birds cawing, flapping, squawking, the fluttering shift of feasting birds, screeching eagles, the sound of one’s own steps, heavy silence, baying wild dogs…

Arid air, dust, one’s own sweat and body odor, dry baked earth, carrion

Grit, dust, dry mouth & tongue, warm flat canteen water, copper taste in mouth, bitter taste of insects for eating, stringy wild game (hares, rats) the tough saltiness of hardtack, biscuits or jerky, an insatible thirst or hunger

Torrid heat, sweat, cutting wind, cracked lips, freezing cold (night) hard packed ground, rocks, gritty sand, shivering, swiping away dirt and sweat, pain from split lips and dehydration, numbness in legs, heat/pain from sun stroke, clothes…

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

Example 1: When I started my journey across the winding dunes of sand, the sky was clear blue glass. Now, as I stagger toward mountains growing no bigger despite three days of walking, that blue glass is marred by flecks of swirling ash…vultures waiting for their next meal…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: The dust devil swirled across the canyon like a rattlesnake on the hunt. (Simile)…

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, because both books are now 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.

Reader Interactions

March 10, 2020 at 4:15 am

Wow this helped me so much on my essay thanks I have altleast 20 things down for it from this website 😊❤️✨

October 7, 2019 at 5:11 pm

this is a very helpful extract where I could pick out some descriptions of the desert and how the climate is Thank you very much for doing this because it gives me the feel and the imagination that I am there now in the desert

February 23, 2019 at 9:35 am

helpful school work !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

October 7, 2018 at 1:43 pm

this has helped me so much for my gcse exams.that i am glad that somebody helped me

September 7, 2017 at 1:56 am

Such vivid descriptions creates a desert picture in my mind. Feel like am already there. Was doing last chapters of my novel wanted to write something about cold deserts. I come from the tropics and have no idea about cold deserts, any information will see me through.

May 6, 2017 at 3:13 pm

This was very helpul for my essay, love it.

May 7, 2017 at 3:41 pm

I’m so glad it was timely!

September 4, 2008 at 8:08 am

I do have one story that’s set in a desert land. But the greatest influence on me – in terms of living in so many different places – is that I always have people of different cultures and species having to live together, cooperate or deal with the various tensions that arise from their varying natures and customs. It’s a lot of fun. And because these stories are fantasies, they can be bizarre while still being realistic.

September 1, 2008 at 6:20 pm

Wow Marian–what a great culture to draw on. Does your work ever reflect where you lived?

And yes please–if you have descriptiors to add, go for it. Often I think of stuff after the fact, and each setting is so vast, there are infinite ways to describe!

Thanks everyone as always for visiting and commenting!

September 1, 2008 at 1:26 pm

I liked the low crime rate (because of the draconian penalties). It was so low that once, when my mom arrived at work to find the office open and burgled, 21 police officers showed up in response to her call (probably the most excitement they had had all week). The forensics people had to shove their way through the crowd.

There’s also the lack of taxes. So provided you’re an indoor person, which I am, you might find it tolerable. Oh, and women always got to go to the front of any line (e.g. at the post office), and had the front seats of buses reserved for them.

One thing I didn’t like was the censorship, which at times bordered on the ridiculous. For instance, the single government-owned ISP wouldn’t let you access the site http://www.ralan.com , which contains lots of useful information about markets in publishing. Why? Because there’s some prominent Israeli whose last name is Ralan. It’s not the same person, but no one bothered to check before blocking the site.

Television programs censor kisses or references to making love, and when I bought a scientific book on human anatomy, the naughty bits were blacked out with a Magic Marker. I once smuggled a Boris Vallejo book into the country and felt very daring. 🙂

So it wasn’t a completely unpleasant experience, but I escaped to Canada as quickly as I could, and I prefer it here.

September 1, 2008 at 6:17 am

Am starting to catch up on these wonderful posts! Is it OK to mention things I would include in your list of sights? Reptiles: snakes, lizards etc. Insects: spiders, biting ants, beetles etc. And sounds? The slither of sand sliding under the belly of a snake or lizard.

Great stuff. Bish

August 31, 2008 at 8:52 pm

Gosh, Marian, that sounds intense. Did you like it there?

August 31, 2008 at 4:56 pm

I actually lived in a desert (well, in the Middle East) for twelve years. Unbearable heat during the summer, up to 45 degrees Celsius, and equally unbearable humidity, since we were on the Gulf Coast.

Since I didn’t have a car, I used to go grocery shopping after sunset, thinking it would be cooler. But the pavement had been baked in the sunlight, so the heat rose off it like a solid wave. And during the day, objects in the distance shimmered, it was so hot. Sometimes I would walk past stores just so their automatic doors would open and I’d feel cool air for a moment.

The least little wind would raise puffs of dust, and a full-out sandstorm was a nightmare. Of course, one good thing about the heat and dryness was that the place was remarkably sterile. You don’t get too much insect or rodent life in an oven. The few plants that grew wild tended to be small, shrubby and tenacious.

Now, of course, I am living in a country that is the exact opposite and I shiver my way through the endless winter months. 🙂

August 31, 2008 at 10:05 am

Thanks for all of your detailed posts!

August 31, 2008 at 12:04 am

I love how I feel like I’m getting mini lessons here! Do ya’ll give out diploma’s? ;0)

thanks for all your work!

August 30, 2008 at 8:42 pm

Angela thanks you, Pema! Or, I’m sure she will when she gets back ;).

And PJ, thanks for the reminder. When Angela’s gone, this place just goes to pot…

August 30, 2008 at 10:18 am

Perfect! I have deserts, too! And how I remember to spell it right – with dessert you always want more, so there are two s letters. With desert, you want less, so there is only one. Hey – Please add this to your sidebar! I know you will, but I use your blog like every day and never want to forget something. It ROCKS!

August 30, 2008 at 8:33 am

Your words are so descriptive, it almost sounds like you’re posting this entry from the Arabian desert! 😉

The Top 10 Descriptive Paragraphs About Mountains

Written by Dan

Last updated February 15, 2024

As a teacher, when you’re looking for examples of descriptive paragraphs for your class to study and explore, there’s no better subject than the majesty of mountains. Mountains offer a different type of beauty—one that can be both awe-inspiring and peaceful simultaneously.

To help give your students an idea of what mountain descriptions look like, we’ve created a list with some of the top 10 most evocative passages about mountains—all written by some beloved authors over the years!

In this post, we’ll examine each with insightful quotes from each passage so that teachers can use material in their classroom activity instructions to further illustrate how expansive and captivating a description about mountains can truly be.

Related : For more, check out our article on Descriptive Paragraphs About King Charles here.

Table of Contents

1. The Majestic Mountains

The mountains, like the ancient sentinels of a forgotten realm, stand tall and proud, their peaks scraping the soft belly of the cerulean sky. They rise like majestic titans, their silhouettes etched defiantly against the backdrop of the heavens.

These mountains are an epitome of grandeur and resilience, a living testament to the earth’s might and its relentless endurance. Their formidable stature is a constant reminder of the planet’s ageless strength and timeless persistence.

Their rugged surfaces, etched with the countless stories of time, are a complex tapestry of shadows and light. These surfaces, worn by the ceaseless march of seasons, bear the imprints of centuries, their crinkles and folds narrating tales of eras gone by.

This intricate mosaic of crevices and ridges, illuminated and concealed by the shifting sun, is a testament to the relentless passage of time and the enduring spirit of nature.

The sun, a celestial artist, paints the mountains with a precision that is nothing short of poetic. As it embarks on its daily journey across the expansive horizon, it bathes the mountains in a kaleidoscope of colors, from the soft pastels of dawn to the fiery hues of dusk.

The play of light and shadow over the mountains’ rugged terrain creates a dynamic landscape that changes with every passing hour, offering an ever-evolving spectacle of natural beauty.

The craggy faces of these mountainous giants, speckled with the vibrant greens of hardy vegetation and the pristine white of winter snow, hold a raw, natural beauty that is both awe-inspiring and humbling.

The contrast between the harsh, unyielding rock and the delicate, fleeting snowflakes or the resilient, tenacious greenery serves as a stark reminder of nature’s paradoxical character — its capacity for both ruthlessness and gentleness.

This juxtaposition, this symphony of extremes, contributes to the mountains’ mesmerizing allure, making them a sight that is as humbling as it is breathtaking.

Related : For more, check out our article on Descriptive Paragraphs About The Queen here.

2. A Symphony of Silence

Listen closely! The mountains speak in a symphony of silence, a language so profound that it transcends words. This silence is punctuated only by the crisp crunch of snow underfoot or the distant echo of a lone bird’s call.

It is a sound that reverberates deep within the soul, a profound hush that drowns out the clamor of the world below, offering a sanctuary where one can hear the whisper of their own thoughts. This silence is not empty but full of a stillness that sings a song of tranquility and peace.

The mountains, silent sentinels of a bygone era, are soothing balms for the soul. They offer refuge from the bustle and anxiety of daily life, allowing one to connect with a peacefulness that is eons old.

For those in need of solace, these quiet giants are beacons of hope, providing a place where one can rest and replenish their reserves of energy and strength.

The mountains beckon us to their untamed peak, inviting us to explore and discover the lessons that lay hidden within their depths. Beyond the chilly winds and steep slopes are secrets that remain untouched and unspoken, waiting for those who will brave its heights.

Those courageous enough to venture into the mountains will be rewarded with a serenity so profound it seems almost sacred, an experience they are unlikely to forget.

The mountains are powerful and mysterious, a place of awe and reverence. They are a reminder that in the vastness of our world lies something greater than ourselves, an ancient wisdom that can only be found in the silent depths of their peaks.

The majestic beauty of these silent giants stands as a testament to our fragile planet and its enduring spirit—a spirit that will continue to speak in its own language, a language of silence.

Related : For more, check out our article on Descriptive Paragraphs About Macbeth here.

3. The Beauty of Solitude

In the heart of the mountains, solitude is not a state of loneliness, but a tranquil companionship with nature. Here, one can commune with the wind that rustles through the pines, the snow that blankets the slopes, and the rocks that have stood the test of time.

Each element is a friend, offering comfort in its constant, unchanging presence. This solitude nurtures the spirit, providing a space for reflection and introspection, a chance to connect with oneself amidst the majesty of the natural world.

The mountains are a place of calm and repose, where one can be surrounded by beauty while still remaining in control. Here, the elements are at peace, and one is free to explore the depths of their own inner world.

The harshness of the terrain encourages self-reliance and teaches resilience, while its serenity facilitates contemplation and growth. The mountains offer a unique opportunity to experience the joy of being alone, far away from the clamor and chaos of everyday life.

The beauty of the mountains is that they offer something for everyone. For some, it’s an escape from the hustle and bustle; for others, an adventure in a wild and untamed world.

But no matter what the purpose, in the mountains one is never truly alone. The company of nature’s elements provides an unspoken companionship—a presence that remains steady and true no matter how far one ventures into the unknown.

The mountains are a place of solace, with their majestic beauty and ancient secrets luring us to explore its depths. Here, amidst the stillness and peace of its peaks, we can find refuge from the chaos of life. The mountains are a reminder that no matter how isolated we may feel, there is always something greater than ourselves that surrounds and sustains us.

They offer a glimpse into an ancient wisdom beyond our understanding, serving as both an inspiration and a protector. In these silent giants lies the promise of solace and serenity, a reminder that beauty and power are intertwined in the timeless embrace of nature.

Related : For more, check out our article on Descriptive Paragraphs About The Wind here.

4. The Dance of Light and Shadow

At dawn, the mountains are cloaked in ethereal hues of pink and gold, their jagged silhouettes sharp against the awakening sky. As the day progresses, they transform into an ever-changing tableau of light and shadow, each hour revealing a new facet of their beauty.

The sun, in its celestial dance, plays with the mountains, casting shadows that creep and retreat, highlighting ridges and illuminating valleys. At dusk, they are bathed in the fiery glow of the setting sun, their peaks aflame with a riot of colors, as if bidding a spectacular farewell to the day.

The mountains are a living, breathing canvas, their faces ever-changing. The subtle hues of morning mist, the play of light and shadow at noon and twilight’s golden curtain; each is a unique symphony that speaks to the soul.

They evoke emotions ranging from awe and wonder to reverence and serenity, inspiring feelings that can only be found in the embrace of nature.

The mountains are more than just a beautiful sight, they are portals to an alternate reality filled with possibility and potential. They remind us that there is beauty even in moments of darkness, if we take the time to look for it.

By exploring their depths, we can discover our own inner strength and courage—strengths that can be found only in the depths of their majestic passes.

The beauty of the mountains is timeless, and as the sun sets each day they remind us that the world is constantly changing, even if it appears otherwise. They invite us to step into a realm where dreams are made and infinite potential awaits.

No matter how daunting it may seem, these silent sentinels are a reminder that the journey is worth taking—for in the depths of their peaks lies an enchantment beyond our wildest imaginings.

5. The Mountains’ Might

The mountains, with their towering peaks and deep, mysterious valleys, are a testament to the earth’s raw power. They are sculpted by the relentless forces of wind and water, carved by the slow crawl of glaciers and the ceaseless march of time.

Their strength is palpable, radiating a quiet assurance that they will endure long after we have returned to the dust. Their might serves as a reminder of our own insignificance in the face of nature’s grandeur, a humbling experience that puts our fleeting existence into perspective.

The mountains are a source of strength and inspiration, pushing us to the limits of our physical and mental abilities. They challenge us in ways that other environments cannot, teaching resilience and perseverance in the face of hardship.

The sheer magnitude of their slopes teach us humility, while their rugged beauty elicits feelings of awe and wonderment. In the presence of these silent sentinels, we can’t help but feel small.

The mountains are a source of solace and strength—a reminder that beauty and power are intertwined in the timeless embrace of nature. Here, amidst the stillness and peace of its peaks, we can find refuge from the chaos of life. The mountains beckon us to explore beyond our comfort zone, reminding us that there is always something greater than ourselves that we can strive for.

They offer a glimpse into an ancient wisdom beyond our understanding, a reminder that the journey is worth taking—for in the depths of their peaks lies an enchantment beyond our wildest imaginings.

6. The Call of the Wild

In the heart of the mountains, the wild calls with a primal lure, awakening a deep-seated yearning for exploration and adventure. Here, amidst the rugged terrain, the untamed beauty, one can feel truly alive, their senses sharpened by the crisp mountain air and the stunning vistas that unfold at every turn.

The mountains call to the adventurer within us, beckoning us to lose ourselves in their wilderness, to breathe in their purity, to become one with their untamed spirit.

The mountains are a playground for the soul, an escape from the mundane and everyday. They invite us to explore their secrets, to discover forgotten trails hidden in their folds, to marvel at their natural wonders.

Here we can find true freedom, where danger is ever-present and adventure abounds. The wild beckons to us—to take risks, face our fears, and test the limits of ourselves.

The mountains are a reminder that life should be lived to its fullest. They invite us to break free from the chains of everyday life and take a leap into the unknown. Here we can find solace in nature’s embrace, discover hidden treasures, and embark on a journey of self-discovery and adventure.

The mountains are a call to the wild, an invitation to explore their depths and discover our true potential. They offer us a glimpse into an ancient wisdom beyond our understanding, reminding us that beauty and power are intertwined in the timeless embrace of nature. Adventure awaits—all we have to do is heed its call. Take the plunge, embrace the risk, and find strength in the wild.

7. A Sanctuary of Serenity

The mountains offer a sanctuary of serenity, a haven from the hustle and bustle of life. Their timeless beauty and tranquil silence provide a balm for the weary soul, healing the wounds inflicted by the frenetic pace of modern existence.

Here, one can find peace, solitude, and a profound connection with nature. The mountains teach us to slow down, to appreciate the simple beauty of a sunrise or the quiet majesty of a snow-capped peak, to find joy in the journey rather than the destination.

The mountains have a magnetic quality, an otherworldly aura that draws us in. They offer a respite from the noise and chaos of life—a place to reflect, rejuvenate, and find clarity. In their embrace we can reconnect with our true selves, discover our innermost passions and dreams, and begin anew.

The mountains are a reminder of the power of nature and its ability to heal. They are a source of strength, courage, and peace—a sanctuary for the weary traveler. Each peak is an invitation to explore, to climb higher than ever before and bask in the awe-inspiring beauty that lies beyond.

The mountains provide a refuge from our daily lives, offering us solace in their stillness and serenity. Let us take a deep breath and be filled with the peace that only nature can provide.

8. The Seasons’ Canvas

The mountains are the canvas upon which the seasons paint their masterpieces. Winter swathes them in a blanket of pristine snow, transforming their rough terrain into a shimmering wonderland of white.

Spring adorns them with a burst of color as flowers bloom and trees bud, breathing life into their slopes. Summer bathes them in warmth and light, revealing their full splendor in the long, golden days. Autumn, the grand artist, sets them ablaze with fiery hues of red and orange, making a spectacle of their descent into winter.

The canvas of the mountains is ever-changing, a stark reminder that nothing in life is constant. The rocky terrain is both relentless and resilient, weathering centuries of storms, floods, snowstorms, and droughts. It stands as a silent witness to the passing of time—to the ebbs and flows of nature’s cycle—reminding us of our own mortality.

The mountains are a reminder that life is fleeting, but also ever-renewing. They offer us a glimpse into the renewal of life through the changing seasons, reminding us to take pleasure in the little moments and savor each experience with all our senses. Let us be still and marvel at the beauty of nature’s canvas, for here lies a never-ending source of inspiration.

The mountains are more than just a backdrop to life’s ups and downs—they are our teachers, guides, and companions. In their embrace we can find strength and solace in times of struggle, and joy and peace in times of ease.

Let us take the time to listen to their silent voices, and find the courage to embrace their call. The mountains await—all we have to do is heed its call. Take the plunge, embrace the risk, and explore the wilds of life’s eternal canvas.

9. The Mountains’ Majesty

There is an undeniable majesty to the mountains. They rise from the earth like colossal sculptures, their contours shaped by the hand of nature. Their peaks, wreathed in clouds, seem to touch the heavens, reaching for the stars in their silent, stoic way.

Their valleys, cloaked in mist, hold a mystical allure, hiding secrets in their depths. In their towering grandeur, the mountains command respect and awe, inspiring poets and artists, dreamers and adventurers alike.

The mountains challenge us, calling us to re-examine our place in the natural world. They remind us of our insignificance and mortality, but also of the strength and resilience that lies within all of us.

Here we can find courage to take risks, explore new possibilities, and live life to its fullest. The mountains beckon—to stand in their glory, to marvel at their timeless beauty, and to be moved by the awesomeness of nature.

The mountains offer us a chance to reconnect with the wildness within ourselves—a part of our true selves that has been forgotten in today’s modern world. To climb a mountain is to break free from the mundane routine of life, to escape from the confines of comfort and be filled with a sense of freedom.

Let us take a moment to marvel at the majesty of the mountains, for here lies an inexhaustible source of inspiration and strength.

The mountains have been witnesses to our struggles and triumphs throughout history—they are part of our collective memory, a reminder that we can overcome any obstacle and find joy in the journey.

Let us embrace their call and take a plunge into the unknown, for here lies a chance to explore uncharted terrain and discover our true potential. The mountains await—all we have to do is heed its call. Take the plunge, embrace the risk, and find strength in the wilds of life’s ever-changing landscape.

10. The Mountains’ Song

The mountains sing a song as old as time itself. It is a melody woven from the rustle of leaves, the babble of brooks, the whistle of the wind, and the call of the wild. It is a symphony that resonates in the heart, a tune that speaks of peace, strength, beauty, and the eternal rhythm of nature.

This song, once heard, stays with you, a haunting melody that calls you back to the mountains, to their majesty, their solitude, and their wild, untamed beauty.

The mountains’ song is a reminder to take pleasure in the little moments and savor each experience with all our senses. Let us pause to listen and be filled with the serenity that only nature can provide.

The mountains may be silent, but their song speaks of life and its mysteries—of adventure, courage, hope, and renewal. In its embrace we can find the strength to take risks, explore new possibilities, and live life to its fullest.

The mountains are alive with their song—a never-ending source of inspiration and courage. Let us take a moment to listen, and find the resolve to heed their call.

Take the plunge, embrace the risk, and explore the wilds of life’s eternal song. The mountains await—all we have to do is listen. So take a deep breath and be filled with the peace that only nature can provide, for here lies an adventure unlike any other.

In conclusion, these top 10 descriptive paragraphs about mountains serve as perfect examples of the power of evocative language. Each passage offers a unique perspective on the majesty and beauty of mountains, highlighting their grandeur, tranquility, and the awe they inspire.

The various descriptions illustrate how the same subject can be depicted in numerous ways, depending on the author’s choice of words and imagery.

These passages serve not only as a tool for teaching descriptive writing but also as an invitation for students to explore their own experiences and emotions, encouraging them to convey their thoughts and feelings with similar depth and vividness. By studying these examples, students can learn to appreciate the richness of descriptive language and the endless possibilities it offers for expressing their perceptions and experiences.

Furthermore, these passages remind us that nature, particularly the magnificence of mountains, provides an abundant source of inspiration for writers. By learning to observe and describe the natural world around them, students can cultivate their observational skills, expand their vocabulary, and develop their ability to create compelling, immersive descriptions.

In essence, these masterfully crafted passages about mountains are more than just examples of descriptive writing; they are a testament to the beauty of language and its power to bring the world to life in the reader’s mind.

20 Descriptive Paragraphs About The Railway Children

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3 Approaches to Landscape in Your Story

Landscape can be a great source of atmosphere and inspiration in a story. From the desert planet Arrakis in Frank Herbert’s Dune to the rolling hills and menacing mountains of Tolkien’s Middle Earth, it’s central to many memorable books.

So how can you use landscape to shape your stories and craft?

Getting the Feeling

Whether you’re developing an entirely imaginary landscape or taking inspiration from a real one, emotions are important. They’re what draw readers in.

But successfully portraying emotions takes some careful calculation.

Close your eyes and think about the landscape you’re working on. If it’s real, how does it make you feel? If you’re inventing it, what feelings do you want to evoke in your readers? Is this place comforting, menacing, bleak, hopeful, bewildering, awe-inspiring…?

Now think about what details in the landscape create that feeling. Do the warm colours and traditional farm houses provide a sense of comforting familiarity? Do looming peaks, long shadows and withered trees create a sense of desolation?

Once you know what feeling you’re going for, you can evoke the atmosphere of the place. The right descriptive details can do this in very few words, so take a moment to consider your options. Brainstorm the adjectives and features of the place that make it distinctive and give it that atmosphere. List things you could compare the landscape with that are both visually and emotionally similar.

One of the best examples of this comes from the start of Neuromancer by William Gibson:

“The sky above the port was the color of television, tuned to a dead channel.”

For readers at the time, this created an image of grey fuzz, an uninspiring sky that hangs without hope above the port. But it’s Gibson’s metaphor that goes beyond this. He evokes broken technology, immediately creating a sense of a place where human artifice is important and where things don’t work. It’s a bleak and striking image.

Whatever the real visual details of your landscape, focus on the ones that match your story and the feelings you want to evoke.

Landscape can provide great inspiration for characters. It can also add depth and richness to the ones you have.

Think about what sort of people live in the landscape you have created, and how it affects them. Lancre, a mountain city-state in Terry Pratchett’s Discworld, is a great example of this. Its isolation fosters people with an insular view of their reality. They don’t know or understand much about the outside world. It creates a comedy of rustic yokels with strange and backward views.

But Lancre also has its serious side. Life in the mountains is hard, all the more so for people trying to farm on rocky ground. The same characters whose insularity we laugh at show a sturdy practicality and toughness of character that is a great strength.

Pratchett uses this to round out the supporting cast of his witches books, but landscape can equally be used to create lead characters. If your protagonist lives in a swamp then she’s unlikely to be squeamish about dirt and smells. Maybe she looks down on those who are, maybe she dreams of their cleaner lives, or maybe there’s a bit of both. She will have skills for surviving in that swamp – perhaps a knowledge of herbs, bird hunting, and how to spot deep, drowning mud. What does she wear if it’s been made from what can be found there?

Think of Ned Stark’s grim outlook in Game of Thrones and you can see a man deeply shaped by his landscape.

Whether you’re creating a whole new character or refining an existing one, landscape can provide inspiration and make your character feel more real. After all, none of us exist in isolation from our surroundings.

Try it for Yourself

You’ve got the principles, so now try it for yourself.

Close your eyes and picture a landscape you find particularly evocative – maybe something from childhood or a dramatic place you saw on holiday. Consider the feelings it evokes. Remember the details.

Once you’ve opened your eyes, write down these feelings and the features of the landscape that foster them. Consider how you might describe them, through adjectives or metaphors, to add to that atmosphere. Which features could you exaggerate to create something more dramatic and fantastical?

Finally, imagine someone who might live in your exaggerated landscape. How do they dress? What skills do they have? How has the landscape shaped their moral perspective?

Maybe this will lead you to a new story. Maybe it will just help you practice a useful skill. Whatever it provides, I hope that you enjoy it, and that it pushes you to ever-better writing.

Landscape can be powerful. Make use of it.

Huge thanks to R J Barker , whose workshop at Sledge-Lit 2016 inspired this article.

About the author

Andrew knighton.

Andrew Knighton is a Yorkshire based ghostwriter, responsible for writing many books in other people's names. He's had over fifty stories published in his own name in places such as Daily Science Fiction and Wily Writers. His steampunk adventure series, The Epiphany Club, is out now in all e-book formats, and the first volume, Guns and Guano, is available for free from Amazon or Smashwords. You can find free stories and links to more of his books at andrewknighton.com and follow him on Twitter where he’s @gibbondemon.

Nonfiction Books » Literary Nonfiction

The best books of landscape writing, recommended by dan richards.

Outpost: A Journey to the Wild Ends of the Earth by Dan Richards

Good writing offers readers an invitation to explore and engage with the world around them, says Dan Richards —author of Outpost and Climbing Days —as he recommends five brilliant books that exemplify the skill of landscape writing.

Interview by Cal Flyn , Deputy Editor

Train Dreams: A Novella by Denis Johnson

The White Album by Joan Didion

A Fortunate Man: The Story of a Country Doctor by Jean Mohr & John Berger

Dart by Alice Oswald

Field Work by Seamus Heaney

The Best Books of Landscape Writing - Train Dreams: A Novella by Denis Johnson

1 Train Dreams: A Novella by Denis Johnson

2 the white album by joan didion, 3 a fortunate man: the story of a country doctor by jean mohr & john berger, 4 dart by alice oswald, 5 field work by seamus heaney.

W hat makes good landscape writing? Is it the same thing as ‘sense of place’—that phrase that pops up so often in publishing?

A lot of the writing that I particularly love about landscape is immersive in that way. Some of the books I’ve chosen are not what you would understand as primarily landscape books, but I think they have enormous specificity, a sense of the uniqueness of a place. Every place has a unique quality; it has its own song. Then writers add this filigree above it: their own associations, their own experiences. A layer cake of song.

The John Berger book that I’ll be talking about is like that. It’s this amazing book about landscape and people, but it packs in all of that in a very subtle, slantwise kind of way. It creeps up on you. It falls light as talc, that book, and then turns to sediment. It’s kind of like a chalky witness of a place.

That’s a beautiful way to describe it. I have the sense of a writer trying to catch the scent of a place on the air.

Yes, exactly.

Do you like to read literature about a place or particular landscape while you are actually there, in it?

Often I don’t. But I have a great belief in ‘mulch,’ this idea of a kind of miraculous compost of reading. The ideas stay in some form with you, you know? You get this sense of echo.

I mean, when I was on Desolation Peak in the Cascades, writing about Jack Kerouac for my recent book Outpost , I did have some Kerouac with me. But I can’t honestly say if I opened that book once when I was there. Because often when you’re in the landscape, you’re engaged with it. The idea of closing your eyes to the amazing world around you that you’ve sought out and are finally visiting, and reading other people’s accounts of it seems kind of anathema. It would be like visiting a friend and then saying, ‘I’m just going to stop you there, and read some of our correspondence, rather than actually talking to you.’ But I think reading other people’s accounts—and seeing how, strangely, other accounts of elsewhere chime with a place—that really interests me.

There are a couple of different approaches to writing about landscape, or place more generally: some offer great depth, wrung from experience, of knowing somewhere inside-out. Joan Didion , for example, has written wonderful essays and books on California, where she grew up and lived for much of her adult life. But others take a much more impressionistic approach. Bruce Chatwin , say, and other literary travel writers . When you were writing Outpost and Climbing Days , you travelled to remote and beautiful areas. What were the pitfalls you wanted to avoid?

Preconceived notions of what they are. That’s the main one. To go to a place, you need to be open to how it really is. You want to be almost scientific in your approach. The last thing you want is to be religious about it, and look for things to back up what you already think.

I think confirmation bias is the worst thing in the world for any writer, inasmuch as you have to be curious, you have to go questing, you have to have your eyes open, and you have to be as physically and mentally engaged with a place as you would be with a person. You must always question what’s going on around you, because to be questioning and inquisitive is to be engaged. Going with preconceived narratives of a place doesn’t move the conversation on.

I always try to talk to people when I’m there. A phrase that has haunted the genre of nature writing for a while is ‘the lone enraptured male’.

A Kathleen Jamie coinage , I believe.

He doesn’t talk to anyone; he just goes, and then he espouses, and then he leaves, and the reader is, you know, furnished with new insight as a result of this reinvention of the landscape wheel. I do kind of think, ‘bollocks,’ because you’re going to somebody else’s home. People who live there, or people, in the case of the climbing book, who have climbed there. You need to know how you fit in. You need to really immerse yourself. Just to skate over the top, in a pompous, self-satisfied, pseudo-knowledgeable way, is a waste of time. You might as well just have stayed at home and read about it from the start.

Well, I’m in love with the idea of tangential mistakes, of things getting out of hand. I think the strongest parts of what I write are when things have gone wrong. I love that. You know, there’s a section of Outpost when I’m in Utah, trying to hitchhike, and say that I feel like Hugh Grant, stumbled onto the set of No Country for Old Men . That’s what you want to do. You want to be haunted by unexpected poltergeists. You want the wheels to fall off a journey that you thought would be fairly simple. I mean, as long as it doesn’t pole-axe the entire trip.

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What’s bad in life is good in the book. That’s my absolute credo and motto and maxim. I will fight anyone who says, ‘Oh no, on a well-organised trip, nothing should go wrong.’ What a boring trip that sounds like! There’s a difference between organisation and a pious rigidity.

A plan is often just a hopeful sketch. Of course it will go wrong. It should be augmented, or thrown away as soon as possible. Once you’re there, let the world lead you and guide you. If you think you know it all before you go, then what’s the point in going?

That’s interesting, it reminds me of advice that the writer Will Storr once gave me . He said not to do too much research before a reporting trip. That keeps the narrative fresh. Then he can quote himself getting off the plane and asking: ‘Where are we? What’s going on?’

It’s also relatable, I suppose. Because whilst people love being in the company of experts, they also I think love being in the company of enthusiastic amateurs.

That makes sense. Shall we talk about your first book? This is quite a slim book: Denis Johnson’s Train Dreams , a novella set in the American Northwest.

I love a slim book. A lot of my favourite books are what Stanley Donwood would call a ‘slender volume.’ At the moment, I’m reading my way through all of the Maigrets by Simenon, in the order that they were published. They are all between 120 and 150 pages.

A perfect length. Satisfyingly surmountable.

They’re just beautiful little machines to completely lose yourself in, to export your imagination somewhere completely different. You know: little problems to be solved. It’s wonderful. I love poetry for that—pamphlets and collections often feel like moonshine machines in that way. Every word is so potent.

So I like these short, sharp shocks, but Denis Johnson is sort of the exception that proves the rule inasmuch as he is able to put into a slim volume—this novella-length book—what I consider to be the life of quite a long-lived man. That was Denis Johnson’s singular gift, to actually teleport the reader into the personal, lived, rich experience of a person as they live through the 20th-century in the Idaho panhandle; the strangeness and the beauty and the richness of a life lived without much contact with other human beings, and the tragedy of that life, and the unexpected moments of joy and the simplicity of that life.

“He manages to make this puddle-sized book fathoms deep”

I come back to that word ‘depth.’ He manages to make this puddle-sized book fathoms deep. I adore all his writing. Denis Johnson is someone whose books you would save from your house if it were burning down.

Some of this book is quite simply written, even spare. But elsewhere it takes on an epic, almost biblical quality. Here’s a section about cattle being driven across a frozen river:

They moved onto the blank white surface and churned up a snowy fog that first lost them in itself, then took in all the world north of the riverbank and finally rose high enough to hide the sun and the sky.

Yeah, it’s Cormac McCarthy-esque. But I don’t think he ever quite got the plaudits for it. He was famously up for the Pulitzer Prize for Fiction, in a year where they gave it to nobody. I think that’s such a tragedy for all of the writers who were up for the prize that year. You think: well, there’s a failure here, that’s perhaps not the writers’ failure.

To go back my McCarthy comment, I also think that Johnson has a similar kind of focus. Nothing is too big or too small; nothing escapes him. He has a very concentrated, beautifully lyrical view of the world. Some of his language is quite simple, as you say, but then so is Raymond Carver’s. There’s also something quite Carver-like about his writing, there’s something quite Cheever about it. It’s American writing, and it’s quite male , in a way. But it’s honed. It feels like his writing is built rather than written. It feels like a craftsman at work.

Often his writing deals with the things that are happening whilst the main event takes place off-page—so the main event is left for a moment, as we look at what the light is doing on the wall, and we look at what the ice crystals are doing from the cattle . . . Their effects are mentioned, their polyphonic and prismatic effects are mentioned. In doing that, he actually heightens the main event. There’s a lot of that.

And there’s an amazing bit about two-thirds of the way through the book, which is utterly compelling in its magical realism. It’s a moment of really arresting strangeness in a book, which as you note is fairly stripped back and plain in its writing, although the effects are kaleidoscopic. Suddenly we’re in this magical-realist moment, and you have several pages of just utterly bizarre wonder. But that only whets the sharpness of the rest of the book, the knife-blade clarity of his writing, I think. He’s a real master.

I think of this book as an elegy for the American West .

Also an elegy for an American existence within nature. The man at the centre of the book lives in a symbiotic relationship with his environment, at a time when America moved from being a nation that lived in nature, to a nation who saw it as its duty to overcome nature. His relationship with the world is very of its time, sadly, but it still has a synchronicity and equivalence, perhaps, to the way Scandinavian people still live.

He’s a man of the forest, he’s a man of the trees, he’s a man who is immensely practical and skilled. You can imagine his hands being calloused from tools. He is a craftsman, and in a way he’s mirroring his creator and writer. I’ll say his creator as he would have understood it; it’s quite a God-fearing book in that way.

Let’s move onto your second choice, Joan Didion’s The White Album . This interests me. Didion is not known as a landscape writer per se . She’s a cultural commentator, a memoirist, an essayist. But Martin Amis once described her as ‘the poet of the great California emptiness.’ I assume you selected this book because of her synonymity with a place, with California?

Yes, but also her filmic ability to lead the reader into a landscape and then fill the reader’s mind with it, to let it spool out. She is the great American road-trip writer, to my mind. She has that great widescreen filmic quality to her work. One of my favourite pieces from this book, The White Album , is ‘At the Dam’—about the Hoover Dam—which was written in 1970. I’ve got it here. She writes:

There was something beyond all that, something beyond energy, beyond history, something I could not fix in my mind. When I came up from the dam that day, the wind was blowing harder, through the canyon and all across the Mojave. Later, towards Henderson and Las Vegas, there would be dust blowing … but out at the dam there was no dust, only the rock and the dam and a little greasewood and a few garbage cans, their tops chained, banging against a fence. I walked across the marble star map that traces a sidereal revolution of the equinox and fixes forever, the Reclamation man had told me, for all time and for all people who can read the stars, the date the dam was dedicated. The star map was, he had said, for when we were all gone and the dam was left. I had not thought much of it when he said it, but I thought of it then, with the wind whining and the sun dropping behind a mesa with the finality of a sunset in space. Of course, that was the image I had seen always, seen it without quite realizing what I saw, a dynamo finally free of man, splendid at last in its absolute isolation, transmitting power and releasing water to a world where no one is.

That’s fabulous. It imbues a manmade structure with the sense of permanence I normally associate with vast landscapes. The sense of something larger than ourselves.

There’s a lot of zooming in and zooming out in her writing. There’s also an essay in The White Album about Georgia O’Keeffe.

I quote O’Keeffe in the final chapter of my book, about the things she saw through the prism of pelvises when she was drawing; the different blues—she was talking about how it’s the blue of the world after all people are gone . . . So there’s this idea of an unpeopled reality, which chimes with things discussed in The White Album. Joan Didion is in California when the Manson murders are happening, and she says the strangest and scariest thing was that no one seemed to find it odd they were happening, because people knew something was going to happen. It had been a febrile atmosphere for too long.

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So there is this idea of the unpeopled landscape, or the over-peopled landscape, or the landscape peopled with the wrong people, and the strangeness of the movie industry. All of this going on, on top of California, you know, only scratching the surface. The impermanence of people just perched on this land, like birds ready to fly off at any moment. A really troubling short-termism about the art, about the people, about the place itself—built on its fault, on this ocean with its storms, and the cultural storms and race storms that were happening at the time. I feel that Joan Didion is the patron saint of a maelstrom of culture and environment of a particular time. She is the still point in the middle.

In her own way, she is as qualitatively American in her writing as Denis Johnson is with his tales of the West, and the forest and the mountains. There’s something in her style that that marks her as an American Writer, with a capital ‘A’ and a capital ‘W’.

I absolutely agree, and also I think she has that idea that I was talking about earlier of being a curious, childlike, questing questioner. There isn’t a lot taken for granted, and what is taken for granted is done so with a sidelong look at the reader, and the comment, ‘I took that for granted.’

Let’s talk about John Berger, and his book A Fortunate Man . We spoke to Gavin Francis , who wrote an introduction for the new edition, a while back. He saw the book as a meditation upon the practice of medicine; Francis himself is a doctor. But what drew your attention to this text as an example of landscape writing?

It captures a moment in time at the Forest of Dean, at a changing point in history. I think it’s just pre-Thatcher. But that doesn’t really help with the Forest of Dean, because it’s probably still slightly pre-Thatcher there. You know, they shot the recent Star Wars there, not far from where this book is set; they needed a kind of primordial, moss-filled forest-swamp, and they chose the Forest of Dean.

So the landscape is almost virgin and primordial, but at the same time, you get this very forward-thinking, almost revolutionary, doctor John Sassall. He’s kind of as much an alchemist as he is a doctor. He reads a lot. He’s almost as much a sociologist as he is your standard GP. He has to be a real Renaissance man to do his job. Some of his cures, if you can call them that, are quite clever and psychological.

There’s an amazing scene where he rushes to the aid of somebody who’s been crushed under a fallen tree, and Berger describes the animal noises coming from the man who the accident has literally befallen, and the doctor, in his quiet manner, being something akin to a vet with a frightened animal.

And you have this amazing duality in the book, the words and the pictures.

These are the photographs taken by Jean Mohr.

The photographs give you the sense of the doctor’s isolation, and—because they’re black and white—they have this amazing timeless quality. The idea of a country doctor, I think, is quite a stark turn-of-the-20th-century image. Sassall was a thoroughly modern man in a very backward—in both the pejorative and the sincerely correct sense. He’s in the sticks, you know? The Forest of Dean is quite isolated, a kind of interzone. It is between things; it isn’t in most people’s minds a destination in-and-of-itself.

One of the reasons that I love the book is you get this sense that John Berger has gone to see this man in his habitat. It’s almost a nature documentary, this little microcosm of the country doctor as viewed through the lens of John Berger. It’s quite episodic, this book. It is really beautiful, and has a very humane but quite wild heart to it. On the surface you have this almost prosaic life of a country doctor, but nothing is really normal. The life of this man is absolutely extraordinary: the things that he does and the decisions he makes, and the—I don’t think it’s a spoiler to say—tragic epilogue, which is terribly unexpected. But then, you begin to see the ghosting of it throughout the book, perhaps.

How did they know each other? Berger and the doctor, I mean.

I don’t know. A friend of a friend, I think. I remember the doctor was a great reader, and had a large social group. He wasn’t himself of that place. I can’t remember exactly where he was from, but somewhere with a cultural life, you know? So he would go off and do other things.

That’s another key thing in the book: this idea of belonging and strangeness, which is I think key to landscape writing. Who is an incomer and what belongs in a landscape? How do we judge the suitability of nature and architecture and people within a place? What is the interplay between all of these things? The doctor, the way that John Berger wrote about him, was really central to this whole community. Then his influence and his skills really began to fan out and have a great impact on a wide circle of people. That is, the influence of one person within a landscape. I think that’s what drew me to this book.

I want to pick up on that point about incomers, and of who belongs to a landscape. It reminded me of the writer Norman Lewis, who said, “I’m looking for the people who have always been there and belong to the places where they live. The others, I do not wish to see.” I think he was suggesting that he brushed over the less ‘authentic’ aspects of a place.

Let’s move onto book four. This is Alice Oswald’s Dart , a poem that won her the T S Eliot prize. I’m really thrilled by this selection. I came across Oswald’s work when Helen Mort chose Falling Awake as one of our best poetry books of 2016 . But this was new to me: it’s a poem that plaits together the voices of fishermen, boat builders, sewage workers, wild swimmers, ferrymen from along the River Dart. Landscape writing at its purest, really.

Yes. It’s one poem, but in the Faber edition I have, it’s 48 pages long. Oswald can recite it by heart. She recites all of her work. She doesn’t read, she speaks, which is astonishing to see—an astonishing skill of memory. It’s amazing.

As you say, different speakers occur throughout and they’re referenced sometimes on the righthand border of the page, but not always. It follows the river from its very slenderous beginnings out to the sea.

The poem builds as the river builds and you see a whole landscape through the river; often the river is a prism through which things are seen. There’s an amazing line on page 22, where someone jumps in: “Then I jumped in a rush of gold to the head.” That is just the most wonderful description of jumping into water: the way the light changes, you can feel it, you can hear it.

Alice Oswald is an utter wonder for saying in a line what other people would take a whole volume to gesture towards. I love this book very much. It seems to be made of verbs and actions and thoughts. It’s incredibly kinetic as a book. Exciting, and physically alluring. You get a real physical response to a lot of what’s going on with this book; it feels really alive and wild. It’s incredibly visceral.

She herself described it as “a river map of voices, like an aboriginal song line,” which I think is wonderful. Its ambition and approach reminds me of William Carlos Williams’s Paterson , an epic poem about the Passaic River in New Jersey. Rather than following the Passaic from source to mouth, he follows it through time, but takes the same approach in interweaving dozens of voices.

John McPhee is very good at this as well. He wrote The Pine Barrens , which is a sort of cultural history of an area in New Jersey, perhaps not far from the book you’ve just described, this huge expanse of wilderness that’s still quite untouched. You know, I say untouched, but it’s got this whole amazing human history and wild history. Now, just because it’s abandoned, people think that it’s pristine. What does ‘pristine’ even mean? All of these terms are human constructions that we lay over landscapes that just are.

But Oswald’s investigation of water and river and the course and the flow and the lyricism of that, the lyricism of the people who use the water and also the chatter of the water itself, the Dart, its voice and its tonality and its physicality runs through this book.

“A lot of landscape writing is really a writer’s paean to place”

One of the amazing things about Alice Oswald is that she manages to be the conduit for so much pure thought—both of the people that she speaks to and also the way that she interprets that. She is not a ventriloquist in that way. She doesn’t seem to put her own voice through the voices of other people. This seems like a kind of palimpsest book, a collage of found things, in the same way that when you see a river, you know that it has come from somewhere and it’s going somewhere, but it seems perfect, ongoing. It’s a thing in-and-of-itself at the moment you meet it. Like a person.

I read a little about her research for the poem. It took a long time; she conducted dozens, maybe even hundreds, of interviews.

Well, let’s move onto another work of poetry, Seamus Heaney’s Field Work , the Nobel-winning poet’s fifth collection, written after he left Belfast for a cottage in Glanmore, Co. Wicklow. This is writing about the landscape in which he now lives; a series called ‘The Glanmore Sonnets’ form a core to the book. What drew you to this collection?

The opening five lines, really. It opens with the poem ‘Oysters,’ one of my favourite poems. It begins,

Our shells clacked on the plates. My tongue was a filling estuary, My palate hung with starlight: As I tasted the salty Pleiades Orion dipped his foot into the water.

I love this poem so much because it manages to capture the idea that a landscape can exist within a shell, basically. There’s a Shakespearean line: Hamlet says he “could be bounded in a nutshell and count [him]self king of infinite space . . .”

Here we have a whole landscape in an oyster. The fact that people are the product of their environment, and so, at a beautifully direct level, are oysters. “My tongue was a filling estuary . . .”—the fact that this oyster is also a microcosmic version of its environment. And beautifully tasty for that, and beautifully exciting on the palate. You know, “my palate hung with starlight.” Just one little oyster, but it is everything. I think that’s as close a description of love as I’ve ever read. It’s utterly mesmeric and beautiful.

But, to go back to the idea of interlopers, one of the next poems is ‘The Toome Road’:

One morning early, I met armoured cars In convoy, warbling along on powerful tyres, All camouflaged with broken alder branches, And headphoned soldiers standing up in turrets. How long were they approaching down my roads As if they owned them? The whole country was sleeping. I had rights-of-way, fields, cattle in my keeping, Tractors hitched to buckrakes in open sheds, Silos, chill gates, wet slates, the greens and reds Of outhouse roofs. Whom should I run to tell Among all those with their back doors on the latch . . .

This idea of the coming of the soldiers into this landscape. The idea of rights-of-way, the idea of ‘my fields,’ ‘my land.’ And the fact that the camouflaged soldiers have these alder branches, that they’re trying to blend in to a landscape—yet their very presence makes it a hostile place, makes it frightening to the poet, or the child in that story. The book is full of these. You can’t really narrow this collection down to, ‘this is a good one,’ because I’d read you every single poem in it.

But there’s a poem called ‘The Casualty,’ which is about a man that the poet meets in a park. He’s a fisherman. He gets blown up and we oscillate between the poet and “His deadpan sidling tact, / His fisherman’s quick eye, and turned observant back.”

This is a man of the world, and yet he was out of his depth. He was in the wrong place, but he felt at home; he felt assured in his roots, of a locale. It’s about the way we exist within place, that’s how I’d sum up the work . Field Work is about the way we exist within place, the comfort we take from place and what happens when that apparent solidity and belonging is challenged.

It’s interesting to read the critical response from the time it was published. Heaney was seen as a political poet; and Field Work was interpreted as a step back from politics. Yet reading these poems now, The Troubles are threaded through his poetic awareness, even from this rural retreat.

Yes, I think it’s another case of stepping back to see the bigger picture. I think there’s a huge sense of dread in this collection. There’s a huge amount of foreboding that runs through even the most pastoral and apparently peaceful poems here. You get the sense that the poems are of a world waiting for something, of a world unsettled, a world in flux, and a world that is holding its breath quite a lot of the time.

As a poet he does that to us, because of the way that he brilliantly manipulates the mind while the poems spool out, but equally I think the words are chosen to forestall a conclusion to the poem: you’re given certain things, clues and images but other things are held back.

There is no easy passage through this book. It feels like the foot is constantly hovering over the clutch for a change of gear. It feels like this is real engagement, not just with Heaney and his work, but Heaney and the readers, and there is as much between the lines as there is in the actual lines themselves.

When we discussed ‘landscape writing’ as a topic, I assumed that this would be a list comprised largely of nature books. But none of these titles are explicitly works of nature writing , and most would not self-identify even as landscape writing. Was that a conscious decision?

I think anything that self-identifies as nature writing is something almost to be suspicious of. I say that because I think nature writing is a quite recent invention.

I have a problem with ‘nonfiction’ as a term, because I’m not overly keen on defining what I do by its lack. You know, it’s ‘not untrue’ . . . It’s a strange way of saying that these are stories from the world.

“Nature writing is a strange kind of hinterland”

Nature writing is perhaps a useful genre for selling books, and for shelving books. But nature writing is a strange kind of hinterland, which is neither fish nor fowl, although it claims to know everything about both.

Maybe that’s a pious or pompous way to end. I don’t want to just slag off nature writing. I just think that a lot of the writers that I love that we could describe as ‘nature writers’ are not writing about nature as a separate thing from the world. Nature is not somewhere we choose to visit. Nature is somewhere we live.

The rush on ‘nature writing’ did seem to spawn a lot of books that might contain some lovely lyrical description, but not necessarily tie that to a greater cause.

I do think about this a lot. I think the problem is that the term ‘nature writing’ plays into this idea of compartmentalization; a lot of these nature writing books look at the minutiae at the expense of the bigger picture. They play into this false narrative: that nature is a whole area of unconnected goings-on.

It ties into what you said, the writer who was like, ‘I want to only see the things that should be there, and I’ll ignore everything that’s wrong with it.’ That’s nature writing. Yeah, sure, don’t tell me about the sewage plant at the edge of the farm. Just leave out all the inconvenient stuff.

I think that nature writing runs the risk of being really myopic. Myopic and quite pleased with itself, and none of the writers I have spoken about here are any of those things. They try and see this connectivity and universality, rather than the false specialism of trying to sell books on a certain shelf, or fit things in a certain prize bracket. Because: bollocks to that. Look at Denis Johnson’s Pulitzer debacle; they didn’t know where to place him, how to pin him because he was beyond genre. All my five are interzonal in that way, perhaps—books like rushes of gold to the head, experiential portals into the thrilling in-between.

June 17, 2019

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Dan Richards

Dan Richards is a British writer and the author of several books including Outpost (2019), Climbing Days (2016), and Holloway (2013), which was co-authored with Robert Macfarlane and Stanley Donwood.

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How to Describe Mountains in Writing (21 Tips & Examples)

Describing mountains in writing, when done correctly, can transport your reader to the rocky inclines, pristine snowcaps, or the craggy ridges of these towering natural wonders.

Here is how to describe mountains in writing:

Describe mountains in writing by focusing on aspects like size, shape, color, textures, and climate. Mention unique geological features, wildlife, vegetation, and the impact of seasons. Capture the mood, aesthetics, and sensory details. Include the cultural, historical, and symbolic significance.

In this guide, you’ll learn everything you need to know about how to describe mountains in writing.

21 Elements to Describe Mountains in Writing

Cartoon image of colorful mountains - How to Describe Mountains in Writing

Table of Contents

Let’s kick things off with a straightforward bulleted list of the different elements of a mountain that you can describe in writing:

Geological features
Light and shadow
Seasonal changes
Mood and atmosphere
Cultural or historical significance
Time of day
Human interaction or activity
Emotional response
Flora and fauna
Weather conditions
Personal perception or symbolism

And now, for the deep dive. Buckle up, it’s going to be a thrilling hike through the world of words and wonder.

1. Size: Making Mountains Move

Mountains are, in essence, colossal.

The sheer magnitude of their size is what makes them impressive and imposing. But in writing, it’s not enough to simply state that a mountain is “big.”

You must convey the overwhelming scale of it.

Compare the mountain to other objects or even creatures with which your reader is familiar.

Maybe it’s as vast as an ancient city or as tall as a skyscraper. Use metaphors and similes to give a sense of scale.

For example:

The mountain loomed in the distance, a behemoth of rock and earth, dwarfing the sea of trees that surrounded its base. It was a Titan, its peak challenging the sky itself.

2. Shape: Peaks and Valleys

Shape is another critical aspect when describing mountains.

Are the peaks sharp and jagged like dragon’s teeth, or are they rounded and soft, like the humps of a sleeping giant?

The shape of a mountain can evoke emotions, set the tone, and create a mental image for your reader.

The shape also gives a hint to the geological history of the mountain.

Pointy peaks suggest a younger mountain range, while rounded tops indicate erosion over many millennia.

The mountain range was a succession of jagged peaks, as if the earth had sprouted the spiny backbone of a monstrous, petrified beast. Each tip pierced the horizon, creating a chaotic symphony of stone and sky.

3. Color: Painting with Nature’s Palette

The color of a mountain can vary drastically.

It can be as white as freshly fallen snow, as gray as a stormy sky, as green as a lush forest, or even as red as rust.

Using color can add depth to your description, making the mountain come alive in the reader’s mind.

Remember, the color can change depending on the time of day, the season, the weather, and the perspective of the observer.

Play with these elements to make your mountain description dynamic.

At dawn, the mountain was a silhouette, shrouded in the delicate hues of the waking sky. But as the sun rose higher, it bathed the rocky slopes in a golden radiance, revealing a tapestry of earthy reds and rusty oranges, a testament to the iron-rich soil from which it was born.

4. Climate: A Tale of Ice and Fire

The climate of a mountain can drastically affect the atmosphere of your narrative.

Is the mountain covered in a blanket of snow, emanating a frosty chill? Or does it bask under a scorching sun, its rocky surface hot to the touch?

The climate can alter the mood of your scene, making it welcoming or inhospitable.

Don’t forget about the elevation effect – the change in climate as one ascends the mountain.

The base might be warm and lush, while the peak could be harsh and icy, offering a dramatic contrast in the same landscape.

The mountain’s base was a paradise of spring blossoms and chirping birds, the air heavy with the scent of life. But as one ascended, this Eden gradually faded into a stark landscape, where biting winds howled through skeletal trees and the land was perpetually cloaked in ice and snow.

5. Wildlife: Mountain Dwellers

Mountains host a diverse array of flora and fauna that have adapted to survive in the harsh conditions.

Describing the wildlife can add vibrancy to your mountain description, making it seem alive and teeming with activity.

From the mountain goats that nimbly navigate treacherous inclines, to the eagles that soar above the highest peaks, wildlife can bring your mountain to life.

Consider also the flora that carpets the mountain sides.

The lower slopes may host forests of tall pines or colorful wildflowers.

While the upper reaches may be adorned with mosses and lichens, clinging to the harsh, rocky environment.

The mountain was a bustling city of wildlife. Eagles soared high above its craggy peaks, their sharp eyes surveying the domain below. Goats, sure-footed and bold, scampered up the steep slopes, nibbling at the tough, windswept grasses that somehow found a foothold in the rocky soil. Lower down, a riot of wildflowers carpeted the mountain’s skirts, painting a picture of resilient beauty.

6. Geological Features: The Bones of the Mountain

Geological features like cliffs, caves, waterfalls, and rivers can make your mountain more interesting and realistic.

They can also offer opportunities for action and adventure.

Is there a treacherous cliff that needs to be scaled, a dark cave that hides a secret, or a roaring waterfall that cascades down the mountain’s side?

Also consider the mountain’s geology.

Is it an ancient, eroded relic of the past, or a young, active volcano, threatening to erupt at any moment?

The geology can provide backstory and symbolism for your narrative.

The mountain was a maze of hidden cliffs and hollow caves, a geological wonder carved by eons of wind and rain. A river, born from the melting snow at its peak, traced a silver line across its face, cascading down in a roaring waterfall that echoed through the valleys. Here was a mountain that wore its history proudly, a testament to the relentless forces of nature.

7. Sounds: Echoes of the Mountain

The sounds associated with mountains can create an immersive atmosphere in your writing.

The whispering wind that rushes through the valleys, the crunch of gravel underfoot, or the distant roar of a waterfall.

These can all add a sense of realism and depth to your description.

Even the absence of sound — the profound silence of an isolated mountain peak — can be powerful.

Sounds, or their absence, can convey the mood and ambiance of the mountain environment.

The mountain was never truly silent. It hummed with the sounds of life and movement – the rustle of wind-blown grass, the distant cries of hunting hawks, and the occasional low rumble as a portion of a glacier broke off and thundered down a hidden ravine. It was a symphony of nature, punctuated by moments of profound silence that spoke volumes.

8. Light and Shadow: The Mountain’s Chiaroscuro

Light and shadow play a significant role in describing mountains.

As the sun moves across the sky, it casts an ever-changing light show on the mountainside.

Morning light may paint the peaks with a soft glow, while sunset might set the mountain ablaze with fiery hues.

Play with the contrast between light and shadow to add depth and dynamism to your description.

Remember, it’s not just the light that shapes the mountain, but also the shadow.

As the sun dipped below the horizon, the mountain transformed into a canvas of light and shadow. The peaks glowed with the last embers of daylight, while the valleys plunged into an abyss of shadow. The transition was mesmerizing, a daily performance of nature’s own chiaroscuro.

9. Texture: Rough and Smooth

Describing the texture of a mountain can help your reader to “feel” the mountain, making your description more tactile and immersive.

Is the mountain’s surface rough and jagged, or smooth and weather-worn?

The texture can convey information about the mountain’s age, the geology, and the environmental conditions.

Remember that texture can also refer to the vegetation and wildlife that inhabit the mountain.

The prickly scrub, the velvet moss, or the sleek fur of a mountain goat can all contribute to the texture of your description.

The mountain was a sculpture of textures, a tactile paradise for anyone brave enough to traverse it. Its slopes were a patchwork of rough, jagged rock and smooth, eroded stones, each telling a story of elemental forces at work. Here and there, clumps of prickly shrubs clung to the terrain, their stubborn resilience adding another layer to the mountain’s rich tapestry.

10. Aesthetics: Beauty in the Beast

Aesthetics in mountain description are about capturing the mountain’s beauty.

This goes beyond simple visuals, involving an emotional response to the mountain’s grandeur.

In describing the aesthetics, consider elements that provoke wonder, awe, or even fear in the observer.

Keep in mind that beauty can be found in the overall form of the mountain, but also in small details – the glint of sunlight on a snow-capped peak, the intricate pattern of ice crystals, or the vibrant burst of alpine flowers on a lush slope.

The mountain held a rugged beauty, an indomitable spirit etched in every crag and cliff. It was a masterpiece of nature’s design, mesmerizing in its majesty. From the shimmering curtain of snowfall at its peak to the delicate dance of butterflies in the meadows at its feet, the mountain commanded a silent reverence from all who beheld it.

11. Smell: The Mountain’s Perfume

Smell is often overlooked in descriptions, but it can add an immersive quality to your writing.

The scent of fresh pine, the crisp mountain air, the musky smell of wet earth — these can add a new dimension to your mountain description.

Also consider the changing scents with the seasons.

The freshness of spring flowers, the dry aroma of summer heat, the spicy smell of autumn leaves, or the clean, cold scent of winter snow can all paint a vivid, sensory picture of the mountain.

The mountain air was a heady blend of scents – the sharp tang of pine, the earthy musk of damp soil, and the clean, invigorating freshness that could only be found at such high altitudes. In the spring, a hint of floral sweetness would join this symphony of smells, as the slopes bloomed with a riot of wildflowers, each adding their own unique note to the mountain’s olfactory opus.

12. Vegetation: The Mountain’s Green Mantle

The type and distribution of vegetation on a mountain can reveal a lot about its altitude, climate, and soil conditions.

Lush forests at the base, scrublands in the middle, and sparse grasslands or bare rock at the summit – these changes in vegetation can add depth and realism to your mountain description.

Remember, vegetation is also a key component of the mountain ecosystem.

Describing the flora and their interactions with the local fauna can make your mountain come alive.

The mountain was a terraced garden of natural splendor. At its base, a thick cloak of pine and oak enveloped the slopes, their leaves whispering secrets to the wind. As one ascended, these gave way to a scrubland of hardy bushes, their roots clinging stubbornly to the rocky soil. And at the summit, where the air thinned and temperatures dropped, only the most resilient of grasses dared to grow, painting the crags with streaks of green.

13. Seasonal Changes: The Mountain’s Many Faces

Mountains are subject to the whims of the seasons, changing their appearance as the year cycles.

This dynamic quality can add life and movement to your mountain descriptions.

Spring may bring blooms of wildflowers, summer might unveil a rocky face, autumn could paint the slopes in fiery hues, and winter may drape the mountain in a shroud of snow.

Seasons also affect the behavior of the local fauna and flora, the climate, and human activity around the mountain.

The mountain was a chameleon, altering its attire with the passing of the seasons. In spring, it wore a verdant cloak of blossoms and fresh leaves. Come summer, it bared its rocky heart to the blazing sun. Autumn adorned it with a riot of oranges and reds, a firework display of nature. And then winter would arrive, transforming the mountain into a serene wonderland of ice and snow.

14. Mood and Atmosphere: Mountain’s Whisper

The mood and atmosphere of a mountain can change drastically based on the weather, the time of day, and the season.

A mountain can be serene and welcoming, shrouded in peaceful dawn light, or it can be menacing and mysterious under a stormy sky.

Using descriptive language and sensory details, you can weave an atmosphere that evokes specific emotions and sets the tone for your narrative.

The mountain was an eerie sentinel under the ghostly glow of the moon. Shadows stretched like long, dark fingers across the rocky terrain, and an icy wind whistled through the narrow crevices, a chilling hymn to the night. This was no longer the benevolent giant bathed in daylight, but a foreboding monument of mystery and dread.

15. Cultural or Historical Significance: The Mountain’s Tale

If your mountain has cultural or historical significance, this can add depth and interest to your description.

Perhaps it’s considered sacred by a local tribe, or it’s the site of a historic event, or maybe it’s associated with local legends and myths.

Incorporating these elements can not only enrich your description but can also provide a backdrop for your narrative.

The mountain held more than just natural wonders. It was steeped in history and folklore, its rocky face witness to countless tales. To the local tribe, it was a sacred entity, the home of ancient gods. And etched on its southern cliff was the shadowy outline of a fortress, a silent testament to a forgotten battle that had once stained these serene slopes with blood.

16. Perspective and Scale: The Mountain Through Different Eyes

The scale of a mountain can be challenging to convey effectively in writing.

One way to do this is by using comparisons or perspectives.

For instance, you could compare the mountain’s height to a skyscraper or describe how it towers over surrounding landscape features.

Also, consider the perspective of your observer.

A mountain climber, a bird, a child, or a seasoned explorer will all perceive and describe the mountain differently, providing various angles for your description.

To a child, the mountain was a giant, its summit hidden in the clouds like a castle in a fairy tale. To an ant, it was an insurmountable world, each grain of sand a boulder, each blade of grass a towering tree. And to an eagle, it was home – a jagged landscape that reached up to touch the sky, where the wind was a playful companion and the peaks were perches from which to survey their domain.

17. Weather and Climate: The Mountain’s Mood Swings

The weather and climate can dramatically influence a mountain’s character.

A mountain can be a tranquil vision beneath a clear blue sky, a hazy silhouette in a summer’s heat, or a threatening monolith under a stormy onslaught.

Moreover, sudden changes in weather are common in mountainous regions, which can add an element of unpredictability and drama to your narrative.

The mountain was a capricious entity, its mood mirrored by the ever-changing weather. On bright days, it would bask in the sun, its snow-capped peak gleaming against the azure sky. But with the arrival of a storm, it transformed into a dark fortress, its visage obscured by veils of rain and wreathed in bolts of lightning.

18. The Human Element: Life Against the Backdrop of the Mountain

Describing activities related to the mountain can make your description more dynamic and relatable.

This could include:

Mountain climbers navigating precarious paths
Herders tending to their flocks on the mountain slopes
Monks living in seclusion in a mountain monastery

The mountain’s relationship with the human world — whether it’s a source of awe and inspiration, a challenge to be conquered, or a vital resource — can add depth and drama to your narrative.

The mountain was a stage for human endeavor. A thin, winding trail scarred its surface, a testament to the brave souls who dared to scale its heights. Lower down, smoke curled up from a solitary monastery, the chants of the monks adding a rhythmic undertone to the mountain’s wild symphony. It was not just a monument of nature, but a tableau of human resilience and aspiration.

19. Wildlife: The Mountain’s Inhabitants

Describing the wildlife that call the mountain their home can make your depiction feel more vibrant and dynamic.

From birds soaring around the peak, to marmots darting among the rocks, to the rare sightings of elusive mountain cats, the presence of fauna adds life and movement to your description.

Also, consider the specific behaviors and adaptations of these animals to the mountainous environment.

These details can contribute to the sense of authenticity and depth in your writing.

The mountain was teeming with life. Eagles circled the summit, their cries echoing off the craggy cliffs. Among the rocks, marmots scampered, their whistles a familiar soundtrack to the high-altitude serenity. Even the elusive snow leopard made its presence known with the occasional paw print in the snow, a ghostly signature of the mountain’s most enigmatic resident.

20. Geological Features: The Mountain’s Facial Features

The mountain’s geological features — such as cliffs, glaciers, waterfalls, caves, and ravines — are like its facial features, giving it a unique character and visual interest.

Describing these features can help your readers visualize the mountain more clearly.

It can also provide a setting for the action in your narrative.

These features are often the result of fascinating geological processes, and mentioning these processes can add an educational aspect to your writing.

The mountain was a showcase of geological wonders. Its northern face was a dramatic cliff, a vertical drop that plunged straight into a turquoise lake. Halfway up the eastern slope, a gleaming glacier clung stubbornly, its slow march carving deep grooves into the rock. And hidden away in the southern range was a narrow ravine, its rocky walls sheltering a tumultuous waterfall that roared with unabated ferocity.

21. Symbolism: The Mountain’s Deeper Meaning

Finally, consider using the mountain as a symbol in your narrative.

Mountains have been symbols of challenges, obstacles, inspiration, spiritual journey, and more.

Describing the mountain in a way that underscores its symbolic significance can add a layer of depth and meaning to your narrative.

The symbolism should resonate with your story’s themes and your characters’ experiences and perspectives.

The mountain stood like a colossal challenge, its peak hidden among the clouds, its slopes steep and unforgiving. To Jake, it was more than just a massive pile of rock and ice. It was a symbol of his struggle, his dreams, and the inner demons he had to conquer. Each step he took towards the summit was a step towards conquering his fears, each breath a testament to his determination.

Words to Describe Mountains (30 Words)

Here are words you can use as you develop skills for how to describe mountains in writing:

Snow-capped
Impenetrable
Picturesque
Granite-faced

Phrases to Describe Mountains (30 Phrases)

Now let’s look at phrases you can use when learning how to describe mountains in writing:

Towering above the clouds
Shrouded in morning mist
Capped with gleaming snow
Echoing with the calls of eagles
Jagged peaks against the skyline
Blanketed with lush greenery
Dancing in the sunset’s glow
Robed in autumn hues
Enveloped in winter’s icy grasp
A sentinel standing guard
Baring their rocky heart
Home to countless wildlife
A testament to nature’s power
Resilient against the elements
Scarred by deep ravines
An oasis in the sky
Swallowed by a sea of fog
Veins of waterfalls cascading down
Wreathed in lightning
Casting long shadows at dusk
Cloaked in serene silence
Whispering secrets on the wind
A playground for the adventurous
Bathed in golden sunlight
Smiling under a rainbow’s arch
A fortress against the storm
Echoing the mountain’s melody
A symphony of colors
Reflecting the moon’s glow
A challenge daring to be conquered

How to Describe Hills in Writing

Describing hills in writing involves a similar approach to describing mountains but on a smaller scale.

Size and Shape

Hills are generally smaller and more rounded than mountains.

They might be described as rolling, undulating, gentle, or sloping. You could describe them as rising and falling like the waves of a verdant sea.

Color and Texture

Describe the color and texture of the hills.

They could be carpeted in emerald grass, adorned with a quilt of wildflowers, or be a dusty brown or golden yellow in different climates and seasons.

Surroundings

Include the surroundings in your description.

Hills could be dotted with grazing sheep, crisscrossed by babbling brooks, or speckled with the vibrant hues of autumn leaves.

Mood and Atmosphere

Mood and atmosphere can vary dramatically.

Hills can evoke feelings of tranquility, a sense of rolling calm, or, under a stormy sky, they might become dramatic and wild.

The hills spread out like a rolling green carpet, undulating under the caress of the wind. Here and there, groves of ancient oak trees interrupted the smooth pattern, their leaves whispering stories of old. Under the golden glow of the setting sun, the hills were transformed into a landscape of molten gold and long, dancing shadows.

Here is a simple video about how to describe mountains in writing:

Final Thoughts: How to Describe Mountains in Writing

Don’t forget to wrap your theme and plot into your mountain descriptions.

When you do, your descriptions come alive for the reader.

If you enjoyed this guide, you’ll probably love the other guides listed below. Check one or two out before you go!

How to Describe a City in Writing (100+ Best Examples)
How to Describe the Wind in Writing (100 Words + Examples)
400+ Words to Describe a Flower Garden: Best Writers Guide
How to Write a Dance Scene: 21 Best Tips + Examples

Best Descriptive Writing Sites Describing the beauty of nature

Best descriptive sentences: rivers, mountains, beaches, waterfalls, forests, lakes and the 4 seasons. 27 comments.

Best descriptive sentences:

rivers, mountains, beaches, waterfalls, forests, lakes, spring, summer, autumn and winter.

This is a collection of sentences from the first 10 chapters of ‘Writing with Stardust’, the ultimate descriptive guide for students, teachers and writers. It contains 3 levels of ability, from the beginner to the more advanced. The book itself contains 5 levels of ability.

I hope you enjoy the post and that it benefits you in some way. You can get more information on my books by clicking on any of the book images at the end of this post. It will take you to the Amazon website where you can discover more about ‘Writing with Stardust’ for yourself.

LEVEL 1: BASIC SENTENCES

1. I saw a jewel-blue stream in the forest. COLOUR

2. It was splashing as it moved through the trees. SOUND

3. It curved gently through the forest. SHAPE

4. It hopped over the rocks happily. ACTION

5. My friend told me that rivers are the roads of the forest . METAPHOR

6. This one was flickering like glitter on the surface. SIMILE

7. I could see a family of ducks paddling on the water. OTHER IMAGES

8. I took a drink. It was very refreshing . SENSATION

9. The aroma of the forest was great. SMELL

10. It drew me to a berry bush. I ate one and it tasted rich. TASTE

LEVEL 2: A BASIC PARAGRAPH

I spied a gem-blue stream in the forest. It was seeping and dribbling as it swerved through the trees. It jumped for joy over the timeworn rocks. I heard once that rivers are the arteries of the forest . This one was sparkling like tinsel . The fluttering butterflies drifted over it lazily. I bent my head down to drink from it. It was very stimulating . The aroma of the forest was very powerful. I plucked a few berries and they were lush and fruity to the tongue.

LEVEL 3: CREATIVE PARAGRAPHS

A turquoise-blue stream wound its merry way through the forest. Babbling and burbling , it sprung over the limestone rocks in its way. Pebbles whisked about in the under wash like pieces of glitter . Streams are the liquid soul of the forest , and this one was glowing. Chords of soft light speared down from above, bathing its surface in gold. It was glinting with little sparkles, like a thousand diamonds blessed with an inner fire . A galaxy of dragonflies fizzed through the beams of light, wings a-glitter in the sun. The hedgerows were pregnant with berries and we tasted some. They energized us with their pleasant waft . The delicious taste stayed with us all the way home.

1. The mountains were bone-white . COLOUR

2. A wall of snow came crashing down. SOUND

3. The mountains were crinkled at the top. SHAPE

4. They were sky-piercing . ACTION

5. The foot of one mountain was covered in mist. PATHETIC FALLACY

6. The mountain peaks were like a row of arrow tips . SIMILE

7. We could see some deer clattering across a mountain. OTHER IMAGES

8. The air felt ice cold . SENSATION

9. We could smell stewed mutton coming from a camp. SMELL

10. We tasted some and it was astral . TASTE

The mountains were vampire-white . A wave of white snow went rumbling down the sides. They were all crumpled at the base. They were sky-stabbing at the top. The legs of the mountains were very wide. The peaks of the mountains were like harpoon tips . They were shrouded in ghost-grey mist . The air was chilling and numbing . We could smell a pot roast being cooked. We tasted some and it was stellar .

The serrated mountains loomed in the distance. We made our way towards them as we had to make base camp by nightfall. They were flour-white and brooded over the land. Just as we approached, a chute of snow detached itself and went trundling down one of the mountains. It slid over the knotted edge and then went crashing into the chasm below. The silence that followed was spine chilling. It froze our marrow to think that we would be climbing in those conditions tomorrow.

The heaven-touching apex of the mountain was drenched in brilliant light. Spikes of thin light impaled the snow in a bristling, moving line. We assumed that the heat had displaced the snow from the hip of the time chiselled mountain. All across our line of sight, the tips of the mountain range stuck up like a row of thorns. Swaddled around them were necklaces of powdery snow . The air became arctic cold as we came closer to base camp. The unmistakable whiff of chargrilled lamb wafted to our noses. Dinner that night was cosmic .

1. The beach was flax-gold . COLOUR

2. We heard the snoozy sea lap gently. SOUND

3. We walked on a bow of beach . SHAPE

4. Cylinders of light moved across the sea. METAPHORS

5. The other tourists were leather-brown . TANS

6. The neon-blue sky was threaded with silver. KNITTING TERMS FOR THE SKY

7. Children were squealing on the beach. OTHER IMAGES

8. The sun toasted our skin. SENSATION

9. The sea air smelled of chlorine . SMELL

10. The spicy sauces in the burger burned our tongues. TASTE

The beach we walked on was moon glow-gold . The sea looked dozy as it rested in the afternoon glow. We were walking on a horseshoe of beach . Towers of radiant light soaked the sea with their beauty. The holiday makers we saw all had coconut-brown faces . Clown-hatted donkeys were braying loudly as children pulled their tails. The burning sun roasted us like nuts in an oven. The sea sky seemed threaded with silver. A warm, tangy odour came from the sea as we walked towards a hot dog stand. The sulfurous mustard burned us nearly as much as the sun.

It’s not often you get to see a sunrise-gold beach. That was our privilege as we gazed out at the slothful sea . Ebbing ever so gently, it looked at peace in its jade-green gown. It felt like we were walking on a carpet of candy floss, such was its softness. The golden sand swept around in a scythe of beach , hemmed in by towering dunes. Far out to sea, rivers of pulsing light saturated the sea with gold. Only the occasional tourist walked past us. There was an absence of sun-blasted bodies in this Babylon of beaches.

The horizon seemed to be stitched with a silver line. The seagulls were squawking over our heads and squabbling for morsels from the hotel kitchen. As the sun scorched our bodies to a crisp, a funfair of barbecued aromas drifted towards us. The saline tang of the sea mingled with the cuisine, adding salt to its appeal. We decided to obey our rumbling stomachs and eat. Lobster on a bed of watercress was our fare that afternoon. It tasted tender and briny and the shell food sauce had a hint of bouquet to it.

WATERFALLS:

1. The waterfall was aquarium-blue . COLOUR

2. It was drizzling onto the rocks. SOFT SOUNDS

3. The larger waterfall was pounding the rocks. LOUD SOUNDS

4. It tumbled down the mountain. ACTION

5. The bliss-pool at the bottom was varnish clear. A DIVINITY-POOL

6. It looked like a wall of blue satin threaded with silver. TEXTURE

7. The flowers next to it were nodding gently. OTHER IMAGES

8. It was freezing and we were shaking with the cold. SENSATION

9. The flowers growing nearby had a honey sweet smell . SMELL

10. We ate an ice cream cone on the bank and it was divine . TASTE

The waterfall was Atlantis-blue . It was gushing over the rocks. At its widest point, it was surging and plunging down the mountain. It had a beautiful serenity-pool at the bottom. It was veneer clear. The waterfall flowed as smoothly as syrup . The frogs croaking nearby added to the wonderful sounds. We threw ourselves under the waterfall. It was so cold that we started shuddering . We collapsed on the bank and let the nougat sweet smell of flowers wash over us. Later we had some ham sandwiches and they were Godly .

The waterfall was Mediterranean-blue and magical. It was swishing over the rocks joyfully. It was thundering down into the pool like a gigantic water spout. When it toppled into the ecstasy-pool , it foamed it at the bottom. The rest of the pool was as clear as cellophane, enabling us to see down into the rocky bottom. Fronds of forest-green plants waved gently in the depths. The waterfall looked like a sheet of blue velour as it swished down. Its edges were hemmed with whipped-white lines.

We could see a gaggle of geese grazing by the bank and the scene was picture perfect. A group of Amazonian ferns, edged with saw’s teeth and statue still, added a tropical flavour. We stood under the waterfall to cool down, but it was catacomb cold. It gave us goose bumps immediately. We ended up quivering and shivering on the bank. The nectar sweet smell of the spring flowers perked up our spirits. We had a cup of chocolate and it was Godlike after our moment of madness.

THE FOREST:

The forest was nut-brown . COLOUR
The twigs were crunching under my feet. SOUND
The trees were the towers of the forest. METAPHOR
I heard a wildcat slinking away. ANIMAL SOUNDS
The morning stars shone like silver petals . THE STARS
Nuts were scattered on the floor of the forest. FOREST EDIBLES
We took the leaf-carpeted path home. OTHER IMAGES
The beauty of the forest comforted our hearts . SENSATION
The smell of the forest was pulpy . SMELL
We picked some berries and they tasted orchard sweet . TASTE

The forest was tannin-brown . The grass was crispy under our feet. We looked up and the trees were skyscraper tall . Hares were scampering away from us up ahead. The morning stars were shining like silver snowflakes . Wood sorrel flecked the blanket of grass. We walked in and out of shady glades . The peace of the morning was soul soothing . The forest’s smell was fresh and organic . We picked some wild pears and they were meadow sweet .

The forest we entered was oak-brown and primitive. The grasses we stepped on were crackly beneath our feet because of the recent dry spell. We were in awe of the size and majesty of the trees. Their knotted arms rose ever upwards, as far as my head could lift. They were hoary fortresses and stood proudly. The orchestra of birdsong we could hear from them suddenly stopped. A pair of jays was screeching high up in the canopy of the trees. Jays are the scavengers of the bird world. Their cruel, corvid eyes are always on the lookout for a feathered meal. In the winter, they raid squirrel stores for their nuts, often damning them to starvation. They drifted across our vision in a flash of flesh-pink and warlock-black, trying to size us up. That was the last we saw of them, as they are a furtive bird, full of suspicion.

The morning stars peeped down at us like silver asters , glinting and shimmering. They looked happy in their solar-silver isolation. We could see wild basil growing freely on the clumpy, mossy mattress of the floor. The simpering wind carried a fragrance with it. It was spirit refreshing to smell the mulchy mix of the forest’s perfume. We ate a few windfall apples and they were mead sweet with a bitter twist. It was only after we got the stomach cramps that we regretted it.

1. The lake was skyline-silver. COLOUR

2. It lay in the middle of a cave quiet valley. THE QUIET VALLEY

3. It was window clear. THE CLEAR LAKE

4. It was peaceful and statue still. THE STILL LAKE

5. Trout were dive bombing in the lake. SOUND

6. A mob of flies rose into the air. THE FLY ARMY

7. I had a ‘zap’ moment because it was so beautiful. A MOMENT OF CLARITY

8. The itching grass snapped me out of it. SENSATIONS OF PAIN

9. A sap sweet smell hung in the air. SMELL

10. The water I drank was sharp but pleasant. TASTE

The lake was as silver as diamond flame and the atmosphere was convent quiet . Even the depths were vodka clear . It was soothing and yogi still . Freckled trout were leaping for flies and thunking on its surface. The rising sun caused a division of armed flies to swarm into the air. The scene was so glorious that I had a lightning bolt moment . The thistles pricking my leg broke my train of thought. The damp grass smelled utopian . I took a sip of water from a stream. It tasted like a sweet medicine , a potion for the spirit.

The lake appeared as if by magic as we crested the ridge. It was in teardrop-silver in colour and it was shaped like a perfectly flat disc of metal. No sound rang out from the shimmering emptiness of space around it. Monastery quiet , it was lined with pine trees and the whiff of mint wafted up to us. We decided to make our way to its decanter clear shore. The idyllic scene took our breath away. Unruffled by wind or rain, it was vault still and restful. The only sounds were the bumbling of bees and the heavy echo of a raven crawking.

Out on the lake, flopping trout were slapping the surface. They were hoping to catch one of the squadron of flies that buzzed about. The heaven-leaking light added a golden tint to the face of the lake and it was paradise. A startling eureka moment came unbidden, which involved the beauty of the natural world. I kept it to myself. The nipping midges didn’t take away from the pleasure of that day. I can still see the rain-pearled grass in my mind’s eye. I remember the saccharine sweet smell of that grass. I remember that the water tasted like the nectar of the gods . Most of all, I remember how it felt to be young on that special day.

1. The fields were parsley-green . COLOUR

2. Lonely calves were lowing in the fields. SOUND

3. The moon was like a ghostly-silver disc in the sky. SIMILES FOR THE MOON

4. A carnival of scents blew in the air. THE MOVEMENT OF SCENTS

5. A host of daisies scattered the meadow. SPRING FLOWERS

6. Strands of thin light came from the sky. METAPHORS FOR LIGHT

7. The milk-splashed calves brayed for company. OTHER IMAGES

8. The scene was spirit-lifting . SENSATION

9. There was a cream fresh smell. SMELL

10. The spring foods had a candy floss sweet taste. TASTE

The fields were glade-green . The sound of chirping chicks filled the air. The moon was like a phantom-silver orb . A pageant of smells floated in the spring air and a horde of dandelions littered the meadow. Staffs of slim light spilled from the sky. Proud-breasted pigeons strutted across the meadow. The scene was spirit-refreshing and pastoral. The meadow smelled pear fresh . There was a blossom sweet taste to the food we ate.

The malachite-green fields seemed to be covered in a bright sheen under the dawn moon. We could hear yipping fox cubs breaking the quiet of the world. Clouds shaped like tufty pillows glided slowly across the sky. They carried an airy, warm, drizzling rain with them. It cleansed the land and banished the strangling coldness and stunned silence of winter. Plinking and pattering off the leaves, then fading into memory, the rain energized the flora. It left behind a world baptized and rebirthed by its liquid grace. Song thrushes trilled as the spectre-silver moon began to wane and the fog of flowers in the meadow slowly revealed itself. We could smell their aromas hovering in the air.

Versace-purple crocuses seemed to glow before our eyes. Jewel-green grasshoppers bounced atop the grass like leggy trampolines. In the stony verges, Rafael-red valerian sprouted from between coral-black cracks. Spears of dawn light suddenly drenched the farthest corners with their golden magic. A pair of misty-eyed cubs yelped as they saw us and darted to safety. A murmuration of starlings wheeled and banked overhead like wind-tossed gunpowder. The rustic scene was spirit-renewing and we let the menu of melon fresh scents wash over us. We ate our hamper of food under the leafy umbrella of a great oak and it tasted molasses sweet .

1. The night sky was heather-purple . COLOUR

2. Humming bees darted through the air. BEE MUSIC

3. The stars were glittering like scattered space dust . METAPHORS FOR THE SUN

4. The beaked chorus of birds filled the air. THE DAWN CHORUS

5. The edible ceps looked like shiny penny buns. EDIBLE FOODS

6. Clouds were latched to the unending sky . THE SWEEP OF SKY

7. The afternoon sky was cocktail-blue . THE BRIGHTEST BLUES

8. The grass was downy soft . SENSATION

9. A stew of smells filled the air. SMELL

10. The summer food was gelatin sweet . TASTE

The night sky was juniper-purple . The sound of intoning bees filled the air. The stars were glowing like beacons for the lost souls of the world. A feathered medley echoed through the trees. The garlic smell of ramsons drifted through the air. The clouds were bracketed to the eternal, summer sky. It was like a dome of solar blue . The grass was silk soft . A broth of smells swirled around me. The food we ate was honeysuckle sweet .

An amethyst-purple tint invades the late summer skies. The world is changing and autumn is approaching. Soon the land will be a-fire in the warm glow of tree-flame. Pagan rituals such as Hallowe’en will bring back long dead memories of trolls, spooks and hobgoblins.

For now, however, the fields are still Elysium-green. Bees are still murmuring in that strange cult hum exclusive to them. They flit from flower to flower, surfing the short spaces as they go. The stars are summer stars, flickering like pulsing lodestars . A sol-fa of song erupts as they fade away, the ancient alchemy of the dawn chorus .

Bilberries and chanterelles adorn the forest floor, questing for sunlight. The perpetual skies of summer are buckled with clouds and they flare up in a luminous, neon-blue when the mood takes them. Summer is nature’s treasure trove. The fields are laden with goldenrod-yellow flowers and silver-washed fritillaries carry their bushels of pollen carefully. A goulash of scents twirls above the satin soft petals and the pear sweet taste of the air is a blessed joy.

But summer brings with it a bitter twist. The nights are closing in on each other and the long days are faltering. Enjoy the beaches, the barbecues and the birds. In a few short months, all will be cold.

1. The ember-red leaves of autumn burn slowly. COLOUR

2. The huffing wind was too lazy to scatter the leaves. UNUSUAL WIND VERBS

3. Clouds form like puffy plates . METAPHORS FOR THE CLOUDS

4. The leaves are a-flame in a quilt of colour. ARCHAIC WORDS FOR AUTUMN

5. We enjoy chomping on blackcurrants. AN AUTUMN FEAST

6. The fiery-reds cast a rich hue on the forest. COLOURS USING HEAT

7. The ghost-grey skies of autumn change the mood. OTHER IMAGES FOR AUTUMN

8. Autumn is a time to be afraid . SENSATION

9. A larder of aromas drizzled from the trees. SMELL

10. The wild berries had a savoury taste . TASTE

The leaves were molten-red . The yawning wind made them shiver slightly. Fluffy fleeces of cloud passed over the forest. The trees were a-flicker like night lights. A group of children were gulping on wild gooseberries. The blazing-brown dome of leaves gave off a nice glow. Owls haunted and hunted through moon-splashed trees. We were spooked by their swivelling heads and lamp round eyes. A perfumery of scents hazed through the forest. The ravishing taste of freshly baked bread stayed in our memories.

The barbecue-red leaves hang silently on the trees. Muffling winds deaden all sound in the forest and slow the billowy bells of cloud . The oak leaves are still a-light , but barely. Dainty noses, sniffling and snuffling, glow the same mercury-red as the trees. They replace the sound of children slobbering over elderberries.

Fog-tinted fairy trees stand alone in fields, noosed by coils of dragon breath. A weak pitter-patter is heard, but it is not the sound of children’s feet. It is the centuries-old, hissing drip of raindrops in caves. Spiders flood the forest, clutching their snare strings tightly, their eyes a-glitter with hatred. Owl-light replaces daylight as autumn comes to a close. The seething energy of the forest becomes vow-silent as promises to nature are kept. The burnt-red leaves turn a smouldering-gold as the first of the heavy rains fall.

The rain drenches everyone. They are not the soft, sodden, swollen raindrops of summer. They are not the light, aerated mizzling of spring showers. They are plump, pregnant with moisture, ploppy and destructive. The long, straight streaks of cloud we call mare’s tails do not carry them. The skies are damnation-black and churning with anger. There is a cataclysm coming. It is time for daunting winter to display his wares.The hotchpotch of aromas that graced the air is gone. The delectable, marchpane taste of the autumn harvest has faded from the palate. When the first snowfall comes, the world will be mummified in a powdery silence. It is time to be afraid again.

1. The snow was whalebone-white . SNOW COLOUR

2. The battering gusts were awful. SOUND

3. The screeching winds were dreadful. STORMS

4. A gentle hush cloaked the land. SILENCE

5. The gravel-grey skies were bare. SKY COLOUR

6. The empty skies were silent. BARREN SKIES

7. Winter squeezes everything to death. CHOKING WINTER

8. Peppery scents filled the room. SMELL

9. Our quivering bodies were cold. SENSATION

10. The seasoned vegetables were delicious. TASTE

The snow was polar-white . The flogging squalls of winter blew loudly. Screeching winds occasionally rose up. When they died, a tomb-like silence haunted the land. Flint-grey skies oversaw the land. The bleak skies were depressing. Winter smothered the land with its vice-like grip. Malt liqueurs , taken to warm up chilled bodies, were a poor substitute for the sun. Sore joints creaked and groaned like rusty hinges. The scent of creamy, mushroom vol – au-vents floating through the house cheered us up.

The snow was zombie-white . Winter’s lacerating hurricanes and whining winds had come and gone, leaving a terrible calmness . The skies above were an unholy mixture of shale-grey clouds and pasty streaks. Callous winter was stifling the world with its icy breath.

I could see a group of kidults playing on a frozen pond. They stamped their frozen feet and thumped their chilly bodies to warm up. Their ears caught fire and turned an icy-blue where their scarves couldn’t reach. Nose-icicles dripped from their frozen faces. Their wheezy, wind-filled lungs were belching out steam as they itched and scratched at their raw skin. They started skating. They slipped, slid and slithered on the polished ice. Hissing and swishing with their skates, they swooped and whooped across the ice. Then they screamed as the ice broke. It must have felt like lances of fire lighting up their skin as they fell in to the perishing cold water.

Their teeth were chattering when they crawled back out. They followed the oaken oven smells home to warm up. I hoped that the yeasty beer would warm their hearts as their bodies were frozen.

Click on any of the book images below to find out more about ‘Writing with Stardust’ or any of Liam’s other books.

27 responses to “ Best descriptive sentences: rivers, mountains, beaches, waterfalls, forests, lakes and the 4 seasons. ”

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thanks, this helped ALOT!!!

Hi Allira: You’re very welcome and I hope my other posts can help you as well in the future. Thank you for the lovely comment and be well. ‘Bye for now. Liam.

amazing..thnx for all this. got an A** going for business♥

Hi Kyla: You’re very welcome. Thanks for leaving the kind comment and I’m delighted you got an A. Cheers for now. Liam.

Hi Liam: I hope you’re well.Thanks for the sunny face and the comment and I wish you the best. ‘Bye for now.

THIS WAS SO HELPFUL THANKSSS

Hi kashish; Thank you for the really nice comment. I’m delighted it helped you. Cheers for now. Liam.

Very helpful, and very kind of you to put it out there – thank you lots, Liam.

Hi there: You’re very welcome and glad to be of help in any way. Hope you’re well and will keep uploading posts like this. Thanks for taking the time to comment. Cheers for now. Liam.

That was really helpful. do you have any resources for cie alevel English? or any tips?(commentary, descriptive writing and narrative writing)

Hi arsen: I hope you are well. Unfortunately, we don’t have the a-levels in Ireland. If you look at my home page, however, I’m sure you will find something that can assist you. Thanks for the kind comment. Cheers for now. Liam.

Hi Liam, if I could send you my writings, could you go through it and help me improve it? (via email) it would mean a world to me( it would help me in my exams too. I have no other resources) thank you! [email protected]

Hi arsen: I don’t have much time but send them on and I’ll see what I can do. No promises. Liam.

Pingback: The Best Way To Portray – Kelcey Bamber FMP Blog

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The water sped against the gush of wind and looked more like white foam spreading in the lovely barrier between the two piece of land

these are the ways to describe well don

What are the books about? I love this site

Hi Aiden: I hope you are well. ‘Writing with Stardust’ is descriptive writing book for everyone and ‘Blue-Sky Thinking’ is a book designed for teachers and students. I hope this answers your question and thanks for the kind comment. Cheers for now. Liam.

Really cool site but, can you guys change the main color of the whole sight to a color other than dark blue. It makes it very hard to read and makes me not feel like reading on this site

You’re very welcome, Winnie.

HI i don’t know if you still available here but i am using AI to build the scenes you described above its stunning look at it here https://imgur.com/a/KHVx9LX

Thank you! I needed this to help me in a competition on creative writing, to make my writing more creative looking at your writings made it possible 🙂

Thank you so much, I can finally pass my English language paper 1 question 5.!!I used this website last year for my mock exam and I got a Grade 9. I am using it as it was so helpful.

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

1000+ Ways to Describe Snow Part 1: A Word List for Writers

Snow: Supernatural?

“The first fall of snow is not only an event, it is a magical event. You go to bed in one kind of a world and wake up in another quite different, and if this is not enchantment then where is it to be found?” ~ J. B. Priestly

Where is enchantment to be found? In stories, and some of those stories may become even more enchanting with the inclusion of snow.

Today’s post is the first of two that offer ways to incorporate snow in creative writing.

See also 1000+ Ways to Describe Snow Part 2 .

Adjectives to Describe Snow

Adjectives are often the first resource exploited by writers. As you experiment with words in this section, heed opinion adjectives and stacked modifiers .

A abominable, abundant, accumulated, advancing, ageless, airborne, alpine, ankle-deep, appalling, approaching, arctic, artificial, autumnal

B bad, barren, beautiful , belated, belly-deep, billowed, billowing, biting, blasted, bleak, blinding, bloodstained, bonnie, bottomless, bright, brittle, bumpy, bygone

C changeless, chaotic, cheerless, chest-deep, chilling, choppy, clammy, clean, cloud-soft, cohesive, cold, compacted, compressed, concealing, congealed, constant, continuous, cottony, crisp, cruel, crumbly, crunchy, crusted, crusty, crystalline, cushiony

D and E damp, dazzling, deathly, deep, dense, desolate, dingy, dirty, distant, domed, downy, dreaded, dreary, drifting, dry, dusty, dwindling, early, elusive, encircling, encrusted, endless, enveloping, ephemeral, eternal, evanescent, everlasting, evil, extraordinary

F fake, fallen, falling, faux, feathery, featureless, fierce, filmy, filthy, fine, firm, flaky, fleecy, flinty, flocculent, floury, fluffy, flying, foamy, foggy, forbidding, forecasted, formidable, frequent, fresh, friable, frigid, frothy, fun, furious, furrowed

G gentle, ghostly, glacial, glaring, glassy, glazed, gleaming, glinting, glistening, glistering, glittering, gorgeous, gory, grainy, granular, granulated, gravely, grimy, gritty, groomed, grubby, gummy, gusting

H and I half-melted, hard, hardened, hated, heavy, high, hip-high, honeycombed, icy, immaculate, immeasurable, impassable, impending, implacable, incessant, indefatigable, inevitable, infernal, inhospitable, interminable, intermittent, inviting, iridescent

J to L jewel studded, knee -deep, lacy, lasting, late, layered, leaden, leftover, light, limitless, liquefied, looming, loose, lovely, low-lying, luminous, lumpy, lustrous

M to O magnificent, majestic, matted, mealy, measurable, melted, melting, merciless, miserable, moderate, moist, moonlit, muddied, muddy, mushy, nasty, nearby, neck-deep, never-ending, new, numbing, occasional, old, omnipresent, oncoming, orographic, overlying, overnight

P to R packed, patchy, pathless, pelting, penetrating, perennial, permanent, perpetual, persistent, phosphorescent, pillow-soft, pillowy, pitiless, plastic, plentiful, plowed, polluted, porous, powdered, powdery, pretty, pristine, prolonged, puffy, punctual, pure, raging, rain-saturated, receding, reflecting, refreshing, relentless, reliable, remaining, ridged, rimed, rippled, ruthless, rutted

Sa to Sm salty, sandy, savage, scant, scattered, sculpted, seamless, seasonal, seeping, semipermanent, serene, shadowy, shallow, sheeted, shifting, shiny, silent, silken, simulated, skiable, sleety, slick, slimy, slippery, sloshy, sludgy, smooth, smothering

So to Su soaked, sodden, soft, softening, soggy, soiled, solidified, soppy, sparkling, sparkly, sparse, spectral, spongy, spotless, spotty, spring, squeaky, star-studded, starlit, sticky, stifling, stinging, streaming, strong, sudden, sugary, summer, sun-kissed, sunless, sunlit, superincumbent, surrounding

T tempestuous, terrible, terrific, textured , thawing, thick, thin, threatening, toxic, track-filled, trackless, trampled, treacherous, twilit

U ubiquitous, unblemished, unbroken, uncleared, undisturbed, unending, uneven, unexpected, ungroomed, uninterrupted, uninviting, unmarked, unmarred, unpacked, unplowed, unpolluted, unpredictable, unpredicted, unrelenting, unseasonal, unspoiled, unstable, unstained, unsullied, unswept, untimely, untouched, untracked, unwelcome, unyielding

V to Y velvety, vengeful, violent, virgin, waterlogged, watery, waxy, well-trampled, wet, whispering, wild, windblown, wind-driven, windswept, winter, wispy, wondrous, wooly, year-round, yielding

Snow Similes and Metaphors

Sometimes a figure of speech adds the perfect touch. Be careful not to overdo, though. Provide enough imagery to stimulate the imagination, but not so much that you slow action or bore readers.

Watch everything and everyone around you. Pay attention to visual media, and note phrasing in books. Your scrutiny will inspire new ideas.

Here are a few phrases to stimulate your creativity.

a blanket of melancholy
a carpet of cotton batting
a colorless shroud
a crispy meringue tipped with brown
a fluffy featherbed
a garden of ice
a lacy tablecloth with flowers and grass peeping through
a landscape frosted with sweet whiteness
a serial killer, silent, stalking, waiting to thrust its cold knife into the countryside
a wooly white duvet
an avalanche of icy death
an onslaught of white, blinding and freezing
as cold as someone’s icy heart
as inevitable as polar nights
as quiet and soft as an angel’s wings
as rare as ice cubes in Hell
as sparse as the hair on someone’s balding skull
as welcome as rain at a summer barbeque
as white as someone’s lies
cookie-sized confetti
dirty lather soaping the city
disappearing as quickly as dew in the desert
feathers of white creating a downy nest in every hollow
fluttering white moths kissing noses and chins
muddy and slushy snow-gravy
powdered gems sparkling in the sun
soft as a lover’s kiss
sparkling gems floating onto flower and face
stardust sprinkling over a Milky Way of upturned faces
white concrete
white waves rippling over the fields

The Colors of Snow

Snow is often multicolored. Shadows, foreign substances, variable lighting, and other conditions change its tint. It might be shadow-dappled, blue-spattered, mud-stained, or smoke-streaked, for example.

Consider the following ten phrases as a foundation for creating multicolored descriptions of snow.

[insert color or colorful object]-dappled
[insert color or colorful object]-dotted
[insert color or colorful object]-flecked
[insert color or colorful object]-pocked
[insert color or colorful object]-spattered
[insert color or colorful object]-splattered
[insert color or colorful object]-spotted
[insert color or colorful object]-stained
[insert color or colorful object]-stippled
[insert color or colorful object]-streaked

If you need a single color, try one of the following.

A to M ashen, black, bloody, blue green, bluish, brown, brownish, candy-colored [due to algae growth], cement grey, crimson, down grey, empurpled, filthy grey, glare white, golden, green, grey, greyish, gritty grey, hoary (greyish white), mauve

O to Y off color, orange, pallid, pearlescent, pearly, pink, purple, red [from iron oxide], red with blood, roseate, rosy, ruddy, sidewalk grey, silver, silvery, sooty, watermelon pink [due to algae growth], white, yellow, yellowish

See also 1000+ Ways to Describe Colors .

Snow Scents

Although snow is frozen water and shouldn’t have an inherent smell, most people and animals can detect a snowstorm before it hits. Their noses respond to a number of factors, including the increase in humidity.

Characters will experience different olfactory stimuli depending on location and time period. A visitor to Disneyland could smell cinnamon from churros (What? Snow in Disneyland? Story fodder.) But a resident of the 1800s might smell coal fires.

If someone claims that snow smells like apple pie, they’re likely standing next to a bakery or Grandma’s cooling shelf.

The colder the temperature, the more subdued the scent of air. But snow still absorbs scents from the environment, especially when partially melted.

I have seen adjectives like the following used by writers when describing the scent of snow: fresh, fragrant, humid, odorous, perfumed, and stagnant.

However, English provides a myriad of words to choose from. Snow might smell like, reek of, or be redolent with the scent of:

A to D algae, almonds (cyanide), apple pie, bacon, a bakery, a barbeque, a barn, blood, booze, burning [leaves, plastic, rubber], brushfires, a busy highway, campfires, Christmas, cinnamon, clean laundry, coal fires, coffee, compost, decaying [fill in the blank], diesel, dirt, dog poop

E to M exhaust fumes, fire, fir trees, a forest, fresh laundry, gasoline, ghetto, gingerbread, Grandma’s kitchen, gunpowder, horse manure, incense, iron, jasmine, kitty litter, landfill, the mountains, mud, musk ox, musty leaves

O to W an oil refinery, an outhouse, ozone, peppermint, pig manure, pine trees, a polecat, pollution, a pulp mill, roasting [chicken, pork, turkey], rotten cabbage, sewer, skunk, smog, spruce trees, sulfur, Thanksgiving, vomit, warming cars, wastewater treatment plant, wet grass, woodsmoke, wolf, wolverine

Snow: So Much More Than Freezing Water

“We love the sight of the brown and ruddy earth; it is the color of life, while a snow-covered plain is the face of death. Yet snow is but the mask of the life-giving rain; it, too, is the friend of man, the tender, sculpturesque, immaculate, warming, fertilizing snow.” ~ John Burroughs

Does Your WIP Include Snow?

If your story unfolds in a desert, you could generate intrigue with the addition of wintry precipitation. What would cause snowflakes in the middle of the Sahara? Why would an SUV have ice encrusted on its undercarriage?

Are You Interested in More Word Lists and Writing Tips?

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10 thoughts on “ 1000+ Ways to Describe Snow Part 1: A Word List for Writers ”

I am writing a book based on a cold forest and I was really in search of some good metaphors and vocab which could elevate that particular part of the book and I think this page has really helped me a lot. Thank you so much, the selection of words and phrases is quiet unique here.

I’m so glad this post was helpful for you, Biren, and good luck with your book!

This is wonderful. Thanks so much.

Thanks for stopping by, Lori. Good luck with your writing!

Hello. I am writing a murder mystery that takes place in the Rocky Mountains. I live in ice and snow during the winter, and so appreciate this list of snow metaphors and descriptors!

My pleasure, Donna. Good luck with your murder mystery. Now is the perfect time of year to see, feel, hear, taste, and smell snow and ice — especially in the Rocky Mountains.

Kathy—This is just wonderful! You’ve demonstrated—with examples—the richness of associations a gifted writer can bring to her work.

Your post brings to mind Smilla’s Sense of Snow by Danish author, Peter Høeg. Have you read it? The flinty, intelligent heroine is from Greenland and part Eskimo. She is a deeply knowledgable about the properties of snow and uses that knowledge to solve a murder and ultimately expose a conspiracy to steal Greenland’s vast mineral riches. One of the first Scandi noir novels, it was also made into quite a good movie starring Julia Ormond and Gabriel Byrne.

https://www.amazon.com/dp/0385315147/

Thanks, Ruth. I hadn’t heard about the book until now. Sounds intriguing. The link you gave went to a page that shows it as unavailable for purchase, so I tracked it down and took the liberty of modifying the URL. Smilla’s Sense of Snow is now on my Amazon wish list.

I appreciate the heads-up!

Kathy – I always look forward to these wonderful descriptions for just about everything! When I get the emails that say “100 Ways to Describe…”, I always leap on top of it and open the web page up and save it to my bookmarks!!! I’m currently writing a book and your works help me in so many ways and you, as an Author, have inspired me to keep writing! Thank you for all that you do! You are AMAZING!

Thank you, and Have a wonderful Holiday! Rebecca Kroll

PS: I have both of your Lexicon books! I wish there were more!

Thanks, Rebecca. What a wonderful way to start my day — even better than coffee. Good luck with your writing, and you have a wonderful holiday too!

P.S. I’m working on The Writer’s Body Lexicon . It’ll be out early next year.

Descriptive Writing A-Level Example: The Mountain

This is a piece completed recently by one of my students for the Cambridge (CIE) A-Level English exam (Paper 2: Writing). It is suitable for anyone studying creative writing at a higher level — GCSE (10th Grade) and above, particularly on the following exam boards: AQA, CIE, OCR, Edexcel, WJEC / Eduqas, CCEA.

The piece attained a B grade, but it has great potential and with a bit of work could have achieved an A. I asked the student to write feedback below to give a sense of the grade, as well as suggested improvements for how to attain a higher level next time. You’ll see a breakdown of his writing process and thoughts behind how he uses language.

Thanks for reading! If you find this page useful, you can take a look at our full Basic Descriptive Writing course ; Advanced Descriptive Writing course , and other English Language and Literature courses

The Question:

Write a descriptive piece called The Mountain. In your writing, create a sense of atmosphere, and focus on colors and sounds to help your reader imagine the scene.

The Answer: (Descriptive Writing A-Level Example)

The mountain.

It had been a long hard trek across the sludgy path, my footfalls producing rhythmic squelches. A warm pitiful breath escaped my mouth and struggled against the unrelenting breeze. My eyes wept from the wind, without sadness, the tears quickly drying but no less pained. I had managed to stray unwittingly from the path. My mind blank, I had chanced upon a vast expanse of open land. Vaguely, I recalled how I had got there, how I awoke in perspiration merely hours earlier, my T-shirt soaked through. If I had wrung it, I’m sure water would have trickled out, so sodden it was.

When I eventually peeled myself off the bed, it was then the idea had taken root, to venture out for a spirited walk. Grabbing my staff and closing the door after me, I walked on mechanically, permitting the crisp air to enter my lungs and liven my senses. For a long time, I gazed listlessly at my traipsing feet, neglecting to survey the path ahead. Soon, when I glanced up, I had drunk in the formidable sight of a tall mountain stood gargantuan in the distance.

The sky, slate grey and heavy, bore the promise of rain. A knot of cloud hung low and obscured the mountain’s peak. It should have unnerved me, but it didn’t. I was Ill-dressed and ill-prepared, yet a dogged stubbornness coursed through my every fibre. I firmly decided I would task myself to climb it. It was as though I forged onward like a weary soldier, going into battle for the very first time.

As I neared the foot of the mountain, such was its mass I could no longer see sky. Pausing at the base of it, I noticed that the wind had abated somewhat, and I felt a brief flash of renewed confidence. Glancing up its steep face my eyes scanned the wild, rocky terrain, peppered with tufts of grass and high reeds.

No discernible path appeared to etch through it, which led me to believe that nobody of sound mind would be foolish enough to scale it. Nobody as foolish as me at least. Warding off the temptation to turn back, I placed my trusty staff before me and carefully distributed my weight across the unstable ground. With no visible path to speak of I lunged forward and begun to climb, praising each successfully placed step as I slowly advanced. Reaching roughly a meter high, I felt the first cool drop of rain blotch my forehead. It caused me to glance up instantly at the sky with trepidation, but before I would be greeted by an onslaught of raindrops, I decided to forge on undeterred.

A violent rush of wind suddenly rose beneath me, causing the hood of my coat to blow clean over my head. Maybe it was a sign, I thought. Nature’s way of telling me that I should prepare for the inevitable drenching. But I did my best to not entertain such thoughts. Instead, my mind cast back to the days of my youth. I recollected the numerous occasions I had ventured into the woods with my older brother. Together we would seek out the tallest climbable tree. He would goad and pressure me to reach the furthest branch no matter the risk of danger. His voice was always close behind, providing a safety net in case I fell. I never did, but where was his voice now?

When the rain came, it had been roughly an hour since I last looked down. The terrain had gotten steeper, so much so that my staff was rendered useless and left me all but hugging onto the slope for dear life. There were times when I froze, clutching myself to the earth, breathing in mud and stone, feeling as though I had tasted time itself. The rain came down in sheets, muddying the very soil my hands struggled to claw into as I ascended. Why had I bothered? I asked myself. Don’t worry just keep going, keep climbing. I imagined my brother’s voice not that far behind.

Student’s Feedback:

There are two examples in this passage where the language draws visual depictions. Firstly, in describing the colour of the sky as ‘slate-grey’, likening it to a shade taken from a type of stone, successfully transmits the image of a dark sky into the reader’s mind. Furthermore, the adjective ‘slate’ has connotations of hardness and coldness, create an intense atmosphere and a sense of difficulty for the protagonist. The use of compound adjectives through the hyphen also enhances the intensity of the visual image.

The second refers to the protagonist’s determination. He ‘forged onward like a weary soldier, going into battle for the very first time.’ This conjures a feeling of vulnerability for the reader. It presents the idea that the protagonist is venturing into the unknown, with unforeseen dangers ahead, creating palpable suspense.

Voice/Tone:

An underlying sense of foreboding runs consistently throughout the passage. There is a distinct atmosphere enveloping the language that is earthy and rich. Much of this is derived from the detailed scene description. This places the reader directly into the mood and atmosphere of the text. This is portrayed in the depiction of physical hardship, endured by the protagonist. For example, ‘My eyes wept from the wind, without sadness, the tears quickly drying but no less pained.’ The line also contains a subtle hint of irony, the association between tears being linked to sadness. However, in this case it is the harshness of nature that is bringing about the shedding of tears.

Another example of ‘mood’ and ‘feel’ evident in the text can be found in the following line: ‘There were times when I froze, clutching myself to the earth, breathing in mud and stone, feeling as though I had tasted time itself.’ While ‘mud’ and ‘stone’ represent nature, they are also symbolically linked to the ancient age of the mountain and present the idea ‘tasting time’ as though it were a tangible thing. These linguistic techniques of tying nature to feeling, exist to immerse the reader within the voice and tone of the text.

The continuous verbs ‘clutching’ and ‘breathing’ … continuous motion / enduring difficulty / dynamic and physical enhance the sense of struggle / highlight the fragility of man in comparison to all-powerful nature.

Perspective/Structure:

The narrative uses first-person through the featured protagonist and unfolds in past-tense. It describes events in a continuous stream of action. However, there are two moments where the action shifts to a series of flashbacks. In the first one, we learn of the protagonist awaking from his bed: ‘I awoke in perspiration merely hours earlier, my T-shirt soaked through,’. In the second, he revisits thoughts of childhood: ‘I recollected the numerous occasions I had ventured into the woods with my older brother.’ Despite these two time-shifts, the throughline of the story commences from the moment the protagonist witnesses the mountain upon his travels, along the path, to lastly attempting to scale it, finding himself stuck upon its steep face.

Features to include for my next creative piece:

Multiple characters
A variation of sentences, including one word.
A specific moment of conflict
Range of paragraph lengths
Range of punctuation > ! ? : ; ‘ “” ‘ () …

Teacher Feedback:

GRADE: 18/25

72 % > B grade

Mark scheme used .

Effective expression, with a range of language, including some complex structures and less common lexis
A few minor errors which do not impede communication
Logical organisation of text; developed ideas in an effective manner
Good achievement of text; content is relevant

Overall, I believed the last 2 sentences could have been more refined, more poignant, and expressive. The story at this point ends rather abruptly in comparison to the rest. This demonstrates better fluency and reads more elegantly.

However, the earlier paragraphs clearly demonstrate strong use of language. This is visually expressive, symbolic/poetic, and carries a distinct tone. There is much intrigue and suspense to be enjoyed, which in turn engages the reader.

Read more descriptive writing tips here: https://scrbblyblog.com/2022/10/26/spooky-atmosphere-writing/

Thanks for reading! If you find this page useful, you can take a look at our full Basic Descriptive Writing course ; Advanced Descriptive Writing course , and other English Language and Literature courses .

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Sands of Creativity: Mastering the Art of Describing Sand in Creative Writing

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

Sands of Creativity: Mastering the Art of Describing Sand in Creative Writing

Unleashing Your Imagination: The Intriguing World of Describing Sand

Capturing the essence: exploring the texture and color of different sands, painting a picture with words: crafting vivid descriptions of sand, playing with metaphors: infusing emotion and depth into sand descriptions, mastering the art of sensory detail: evoking sights, sounds, and feelings of sand, choosing the right words: enhancing descriptions through precise vocabulary, going beyond the obvious: uncovering the unique qualities of various sands, inspiring your readers: techniques to bring sand descriptions to life, frequently asked questions, concluding remarks.

Have you ever stopped to truly observe the mesmerizing qualities of sand? This omnipresent substance that effortlessly slips through our fingers is more fascinating than meets the eye. Its texture alone can transport us to a multitude of landscapes, from silky smooth shores to rough and grainy dunes. But describing sand goes far beyond its mere sensation. Join us as we embark on a journey to unravel the intriguing world of sand and let your imagination run wild .

Sand, with its infinite variety, holds a treasure trove of colors. From dazzling white beaches to golden desert expanses, it embraces shades that beckon the wanderlust within us. Each grain tells a unique story, composed of minerals, rocks, and even seashells. Imagine the soft, powder-like feel of finely ground quartz sliding through your fingers, or the coarser, uneven grit of volcanic ash-shaped particles. The diversity of sand is as astounding as the landscapes they form. Palettes of ochre, beige, caramel, or ebony awaken our senses and paint vivid pictures in our minds.

Capturing the Essence: Exploring the Texture and Color of Different Sands

Welcome to a captivating journey where we delve into the mesmerizing world of sands! Join us as we uncover the diverse range of textures and colors found in sands across the globe. From sun-kissed beaches to arid deserts, each grain has its own story to tell.

The texture of sands can vary significantly, providing a truly unique tactile experience. Fine sands, with their powdery consistency, effortlessly slip through your fingers, creating a velvety sensation. In contrast, coarse sands offer a grainier touch that exudes a sense of rawness and ruggedness. Embark on an adventure of touch, allowing your fingertips to explore the vast differences that sands have to offer.

Jagged Sands: Some sands display jagged edges, formed from elements like crushed shells or volcanic rocks. These rough textures not only add intrigue but also depict the turbulent history of their origin.
Silky Sands: As smooth as silk, these ultra-fine grains are like caressing a cloud. Often found on serene beaches, their velvety texture feels luxurious beneath your toes.
Glistening Sands: Certain sands shimmer like precious gems under the sunlight. Infused with tiny crystal fragments, they create a mesmerizing spectacle that sparkles and captivates all who behold their beauty.

Colors also play a significant role in the allure of sands. Some beaches boast pristine white sands, where the pureness reflects the surrounding sunlight, creating an ethereal atmosphere. Other shores embrace warm golden tones, reminiscent of endless summer days. Certain volcanic regions unveil striking black sands, drenched in mystery and history. The kaleidoscope of colors found in sands truly invites us to observe the fascinating tapestry of our planet.

Painting a Picture with Words: Crafting Vivid Descriptions of Sand

Color: The sand sparkled like golden silk under the bright rays of the sun, spreading hues of warmth and radiance. As the coastline stretched far into the distance, the sand gradually lightened to a delicate shade of beige, reminiscent of a creamy cappuccino. In some areas, where the sea gently lapped against the shore, the sand appeared damp and darker, contrasting beautifully with the dry, powdery texture surrounding it.

Texture: Running your fingers through the sand felt like sifting through thousands of tiny, velvety granules. It was as if nature had taken the softest down feathers and transformed them into a flooring of delicate particles. The sand was cool to the touch, offering a refreshing respite from the heat of the sun. With each step, the sand gently yielded beneath your weight, leaving behind little footprints and revealing its resilient nature.

Playing with Metaphors: Infusing Emotion and Depth into Sand Descriptions

When it comes to describing sand, the use of metaphors can add a whole new dimension of emotion and depth to your writing. Metaphors allow you to create vivid imagery and engage the reader’s senses, making your descriptions more captivating and memorable.

One way to infuse emotion into sand descriptions is by comparing the texture of the sand to something familiar yet evocative. For example, you could liken the softness of the sand to a baby’s skin, instantly conjuring feelings of tenderness and delicacy. Alternatively, you might compare the roughness of the sand to a warrior’s calloused hands, evoking a sense of strength and resilience. By using metaphors, you can transform a mundane description into a powerful visual experience that resonates with your readers.

Compare the warmth of the sand to a cozy fireplace on a winter’s night.
Describe the color of the sand as golden, like an ethereal sunbeam at sunset.
Portray the sound of the sand as a gentle whisper, reminiscent of secrets shared between loved ones.

Ultimately, the key to infusing emotion and depth into sand descriptions lies in the artful use of metaphors. By carefully selecting metaphors that resonate with your intended emotions and creating a sensory experience, you can transport your readers to the sandy shores and make your descriptions come alive.

Evoke the beauty and essence of a sandy landscape by mastering the art of sensory detail. By incorporating vivid sights, sounds, and feelings, you can transport your readers to a world of sun-kissed shores and shifting dunes.

When describing the sight of sand, imagine the golden grains glistening in the sunlight like a million tiny stars. The fine texture and undulating patterns create a mesmerizing sight, painting a picture of tranquility and endless possibility. Picture the way the sand stretches out before you, seemingly infinite, inviting you to explore and lose yourself in its soft embrace. To amplify this visual imagery, consider using descriptive adjectives like “powdery,” “radiant,” or “undulating.”

Sound: Close your eyes and listen closely to the soundscape of sand. As you walk, the grains gently shift under your feet, creating a soothing, rhythmic sound – a gentle dance of nature. The sound of sand blowing in the wind is a whispered melody, harmonizing with the symphony of crashing waves in the background. To convey these auditory sensations, incorporate words like “whisper,” “rustle,” or “murmur.”
Feelings: The sensation of sand beneath your toes is an unparalleled experience. As you sink your feet into its warmth, you can almost feel its soft caress against your skin. The playful texture lends itself to building sandcastles or creating intricate patterns with your fingertips. Let your readers feel the sensation of sand slipping through their fingers, the gentle exfoliation as it meets their skin. Use words like “gritty,” “grainy,” or “velvety” to transport your audience to the tactile wonderland of sand.

Incorporating sensory detail in your writing enables you to paint a vivid and immersive picture of the sandy landscape. By harnessing the sights, sounds, and feelings of sand, you can evoke a sensory experience that resonates with your readers, enticing them to embark on their own journeys through the mesmerizing world of sand.

The art of effective communication lies not only in the ideas we express but also in the words we choose to convey those ideas. When it comes to descriptions, the use of precise vocabulary can elevate the impact and clarity of our message. By carefully selecting the right words, we can paint a vivid picture in the minds of our readers, capturing their attention and evoking specific emotions.

First and foremost, precision in vocabulary allows us to be more specific with our descriptions. By utilizing words that are exact and concrete, we provide the reader with a clear image of what we are describing. Rather than simply stating that something is “big,” we can use words like “monstrous” or “towering,” providing a much more evocative and memorable depiction. Additionally, precise vocabulary helps us to express nuanced differences. For example, instead of describing an object as “old,” we can choose words like “antique” or “vintage” to convey a sense of history and value. These subtle word choices add depth and richness to our descriptions, making them more engaging and captivating.

Precision in vocabulary provides clarity and specificity in descriptions.
Exact and concrete words create clear mental images.
Evocative vocabulary helps capture the reader’s attention.
Subtle differences can be expressed through nuanced word choices.
Precise vocabulary adds depth and engages the reader.

In conclusion, choosing the right words is key to enhancing descriptions. By incorporating a precise vocabulary, we can ensure clarity, evoke emotions, and captivate our readers. So, let us dive into the vast sea of words and select those that best convey our intended meaning, creating descriptions that truly come alive in the minds of those who read them.

Going Beyond the Obvious: Uncovering the Unique Qualities of Various Sands

When it comes to sand, we often take it for granted as simply a gritty substance beneath our feet. However, delve deeper into the world of sands, and you’ll be amazed by their diverse characteristics and rich histories. From the serene beaches of the Caribbean to the mystical deserts of Africa, sands hold unique qualities that set them apart. Let’s embark on a journey to explore the hidden wonders of these fascinating granules!

1. The Singing Sands of Lovers Beach, Mexico: Have you ever heard sand sing? Well, you can experience this enchanting phenomenon at the pristine Lovers Beach in Cabo San Lucas. As you step on the sand, the friction between the tiny grains produces a gentle melody resembling the sound of a distant flute. This extraordinary occurrence is due to the silica-rich content of the sand particles. It’s truly a magical experience cherished by locals and visitors alike.

2. The Magnetic Sands of Tenerife, Spain: Prepare to be amazed by the magnetic sands of Tenerife’s Playa de las Teresitas. Unlike ordinary sand, these unique black grains are formed from volcanic materials, giving them their magnetic properties. Locals believe that the sand possesses healing powers, and visitors flock to this stunning beach to relax and indulge in its alleged therapeutic benefits. So, next time you’re in Tenerife, don’t miss the opportunity to lounge on these captivatingly magnetic sands!

When describing sandy landscapes, it is crucial to paint a vivid picture in your reader’s mind. By incorporating sensory details and using descriptive language, you can transport your audience to the breathtaking beauty of sandy shores. Here are some techniques to infuse life into your sand descriptions:

1. Appeal to the senses: Engage your reader’s senses by describing the texture of the sand – is it powdery, fine, or gritty? Highlight the scent of the ocean breeze as it mingles with the salty sea air. Captivating your reader’s senses creates a more immersive experience.
2. Evoke emotions: Describing the sand in a way that elicits emotions can create a deeper connection with your readers. A phrase like “the golden sand shimmered under the sun, inviting you to feel its warmth beneath your toes” sparks feelings of comfort and tranquility.
3. Use vibrant comparisons: Enhance your descriptions by drawing comparisons to relatable objects. For instance, you could compare the color of the sand to “pale vanilla” or liken its texture to “sifting through a thousand crushed pearls.”

By employing these techniques, you can revitalize your descriptions of sandy landscapes and transport your readers to coastal paradises. Remember to be creative and let the sand come alive in their minds, enabling them to feel the warmth, smell the sea, and hear the gentle whisper of the waves in the distance.

Q: What is the importance of describing sand in creative writing? A: Describing sand in creative writing can add depth and realism to your storytelling. It helps create vivid imagery and transports readers to different settings, whether it’s a tropical beach or a desert landscape.

Q: How can I effectively describe sand in my writing? A: To describe sand effectively, use sensory language to engage readers’ senses. Focus on the texture, color, temperature, and even the sound of sand to make your description come alive on the page. Be specific and pay attention to small details that can enhance the overall atmosphere of your writing.

Q: What are some ways to capture the texture of sand in descriptive writing? A: To capture the texture of sand, consider its graininess, roughness, or smoothness. You can compare it to other familiar textures, such as silk, granulated sugar, or even the rough skin of a lizard. By using descriptive adjectives and similes, you can effectively convey the unique properties of sand.

Q: How does the color of sand impact descriptive writing? A: The color of sand plays a significant role in setting the scene in creative writing. Whether it is white, golden, or even black, the color of sand can evoke different emotions and moods. For example, white sand may convey a sense of purity or tranquility, while golden sand can symbolize warmth and paradise.

Q: How can I describe the temperature of sand in my writing? A: Describing the temperature of sand can help readers experience the scene more fully. You can convey warmth by mentioning the hot sand beneath one’s feet, or alternatively, describe the coolness of sand in the shade. By incorporating the temperature element, you can accentuate the overall atmosphere of your writing.

Q: Is it important to describe the sound of sand as well? A: Absolutely! Incorporating the sound of sand can make your writing even more immersive. Describe the crunching sound underfoot as someone walks on dry sand, or the gentle swishing sound of sand slipping through fingers. By including auditory details, you engage another sense and make the scene feel more realistic.

Q: How can I avoid generic descriptions when writing about sand? A: To avoid generic descriptions, focus on using unique and specific details. Instead of simply stating “the sand was white,” you could describe it as “powdery white sand, so fine that it slipped right through my fingers.” By using more descriptive language, you make the description more engaging and memorable.

Q: Are there any pitfalls to avoid when describing sand in creative writing? A: One common pitfall to avoid is overusing cliches or generic phrases. Aim to create original descriptions that paint a vivid picture in readers’ minds. Additionally, be cautious of excessive description that might slow down the pace of your writing. Strike a balance between providing enough detail to engage the reader, while keeping the story flowing smoothly.

Q: Can you provide some examples of effective descriptions of sand in creative writing? A: Certainly! Here are a few examples: 1. “The sand, warm as freshly baked bread, cushioned my every step as I strolled along the beach.” 2. “Golden grains of sand shimmered under the scorching sun, creating a radiant tapestry as far as the eye could see.” 3. “As the wind whispered through the dunes, the fine sand rose and fell like dancing tiny diamonds in a desert waltz.”

Q: Any final tips for mastering the art of describing sand in creative writing? A: Practice observing sand in real-life situations , paying attention to its various characteristics and how it interacts with the environment. This practice will help you develop a keen eye for detail, enabling you to describe sand more authentically in your writing. Remember to engage the reader’s senses and use language that is unique, specific, and evocative.

In conclusion, mastering the skill of describing sand in creative writing is a powerful tool that can take your prose to new heights.

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A Guide to Descriptive Writing

by Melissa Donovan | Jan 7, 2021 | Creative Writing | 8 comments

What is descriptive writing?

Writing description is a necessary skill for most writers. Whether we’re writing an essay, a story, or a poem, we usually reach a point where we need to describe something. In fiction, we describe settings and characters. In poetry, we describe scenes, experiences, and emotions. In creative nonfiction, we describe reality. Descriptive writing is especially important for speculative fiction writers and poets. If you’ve created a fantasy world, then you’ll need to deftly describe it to readers; Lewis Carroll not only described Wonderland (aff link); he also described the fantastical creatures that inhabited it.

But many writers are challenged by description writing, and many readers find it boring to read — when it’s not crafted skillfully.

However, I think it’s safe to say that technology has spoiled us. Thanks to photos and videos, we’ve become increasingly visual, which means it’s getting harder to use words to describe something, especially if it only exists in our imaginations.

What is Descriptive Writing?

One might say that descriptive writing is the art of painting a picture with words. But descriptive writing goes beyond visuals. Descriptive writing hits all the senses; we describe how things look, sound, smell, taste, and feel (their tactile quality).

The term descriptive writing can mean a few different things:

The act of writing description ( I’m doing some descriptive writing ).
A descriptive essay is short-form prose that is meant to describe something in detail; it can describe a person, place, event, object, or anything else.
Description as part of a larger work: This is the most common kind of descriptive writing. It is usually a sentence or paragraph (sometimes multiple paragraphs) that provide description, usually to help the reader visualize what’s happening, where it’s happening, or how it’s happening. It’s most commonly used to describe a setting or a character. An example would be a section of text within a novel that establishes the setting by describing a room or a passage that introduces a character with a physical description.
Writing that is descriptive (or vivid) — an author’s style: Some authors weave description throughout their prose and verse, interspersing it through the dialogue and action. It’s a style of writing that imparts description without using large blocks of text that are explicitly focused on description.
Description is integral in poetry writing. Poetry emphasizes imagery, and imagery is rendered in writing via description, so descriptive writing is a crucial skill for most poets.

Depending on what you write, you’ve probably experimented with one of more of these types of descriptive writing, maybe all of them.

Can you think of any other types of descriptive writing that aren’t listed here?

How Much Description is Too Much?

Classic literature was dense with description whereas modern literature usually keeps description to a minimum.

Compare the elaborate descriptions in J.R.R. Tolkien’s Lord of the Rings trilogy with the descriptions in J.K. Rowling’s Harry Potter series (aff links). Both series relied on description to help readers visualize an imagined, fantastical world, but Rowling did not use her precious writing space to describe standard settings whereas Tolkien frequently paused all action and spent pages describing a single landscape.

This isn’t unique to Tolkien and Rowling; if you compare most literature from the beginning of of the 20th century and earlier to today’s written works, you’ll see that we just don’t dedicate much time and space to description anymore.

I think this radical change in how we approach description is directly tied to the wide availability of film, television, and photography. Let’s say you were living in the 19th century, writing a story about a tropical island for an audience of northern, urban readers. You would be fairly certain that most of your readers had never seen such an island and had no idea what it looked like. To give your audience a full sense of your story’s setting, you’d need pages of detail describing the lush jungle, sandy beaches, and warm waters.

Nowadays, we all know what a tropical island looks like, thanks to the wide availability of media. Even if you’ve never been to such an island, surely you’ve seen one on TV. This might explain why few books on the craft of writing address descriptive writing. The focus is usually on other elements, like language, character, plot, theme, and structure.

For contemporary writers, the trick is to make the description as precise and detailed as possible while keeping it to a minimum. Most readers want characters and action with just enough description so that they can imagine the story as it’s unfolding.

If you’ve ever encountered a story that paused to provide head-to-toe descriptions along with detailed backstories of every character upon their introduction into the narrative, you know just how grating description can be when executed poorly.

However, it’s worth noting that a skilled writer can roll out descriptions that are riveting to read. Sometimes they’re riveting because they’re integrated seamlessly with the action and dialogue; other times, the description is deftly crafted and engaging on its own. In fact, an expert descriptive writer can keep readers glued through multiple pages of description.

Descriptive Writing Tips

I’ve encountered descriptive writing so smooth and seamless that I easily visualized what was happening without even noticing that I was reading description. Some authors craft descriptions that are so lovely, I do notice — but in a good way. Some of them are so compelling that I pause to read them again.

On the other hand, poorly crafted descriptions can really impede a reader’s experience. Description doesn’t work if it’s unclear, verbose, or bland. Most readers prefer action and dialogue to lengthy descriptions, so while a paragraph here and there can certainly help readers better visualize what’s happening, pages and pages of description can increase the risk that they’ll set your work aside and never pick it up again. There are exceptions to every rule, so the real trick is to know when lengthy descriptions are warranted and when they’re just boring.

Here are some general tips for descriptive writing:

Use distinct descriptions that stand out and are memorable. For example, don’t write that a character is five foot two with brown hair and blue eyes. Give the reader something to remember. Say the character is short with mousy hair and sky-blue eyes.
Make description active: Consider the following description of a room: There was a bookshelf in the corner. A desk sat under the window. The walls were beige, and the floor was tiled. That’s boring. Try something like this: A massive oak desk sat below a large picture window and beside a shelf overflowing with books. Hardcovers, paperbacks, and binders were piled on the dingy tiled floor in messy stacks. In the second example, words like overflowing and piled are active.
Weave description through the narrative: Sometimes a character enters a room and looks around, so the narrative needs to pause to describe what the character sees. Other times, description can be threaded through the narrative. For example, instead of pausing to describe a character, engage that character in dialogue with another character. Use the characters’ thoughts and the dialogue tags to reveal description: He stared at her flowing, auburn curls, which reminded him of his mother’s hair. “Where were you?” he asked, shifting his green eyes across the restaurant to where a customer was hassling one of the servers.

Simple descriptions are surprisingly easy to execute. All you have to do is look at something (or imagine it) and write what you see. But well-crafted descriptions require writers to pay diligence to word choice, to describe only those elements that are most important, and to use engaging language to paint a picture in the reader’s mind. Instead of spending several sentences describing a character’s height, weight, age, hair color, eye color, and clothing, a few, choice details will often render a more vivid image for the reader: Red hair framed her round, freckled face like a spray of flames. This only reveals three descriptive details: red hair, a round face, and freckles. Yet it paints more vivid picture than a statistical head-to-toe rundown: She was five foot three and no more than a hundred and ten pounds with red hair, blue eyes, and a round, freckled face.

10 descriptive writing practices.

How to Practice Writing Description

Here are some descriptive writing activities that will inspire you while providing opportunities to practice writing description. If you don’t have much experience with descriptive writing, you may find that your first few attempts are flat and boring. If you can’t keep readers engaged, they’ll wander off. Work at crafting descriptions that are compelling and mesmerizing.

Go to one of your favorite spots and write a description of the setting: it could be your bedroom, a favorite coffee shop, or a local park. Leave people, dialogue, and action out of it. Just focus on explaining what the space looks like.
Who is your favorite character from the movies? Describe the character from head to toe. Show the reader not only what the character looks like, but also how the character acts. Do this without including action or dialogue. Remember: description only!
Forty years ago we didn’t have cell phones or the internet. Now we have cell phones that can access the internet. Think of a device or gadget that we’ll have forty years from now and describe it.
Since modern fiction is light on description, many young and new writers often fail to include details, even when the reader needs them. Go through one of your writing projects and make sure elements that readers may not be familiar with are adequately described.
Sometimes in a narrative, a little description provides respite from all the action and dialogue. Make a list of things from a story you’re working on (gadgets, characters, settings, etc.), and for each one, write a short description of no more than a hundred words.
As mentioned, Tolkien often spent pages describing a single landscape. Choose one of your favorite pieces of classic literature, find a long passage of description, and rewrite it. Try to cut the descriptive word count in half.
When you read a book, use a highlighter to mark sentences and paragraphs that contain description. Don’t highlight every adjective and adverb. Look for longer passages that are dedicated to description.
Write a description for a child. Choose something reasonably difficult, like the solar system. How do you describe it in such a way that a child understands how he or she fits into it?
Most writers dream of someday writing a book. Describe your book cover.
Write a one-page description of yourself.

If you have any descriptive writing practices to add to this list, feel free to share them in the comments.

Descriptive Writing

Does descriptive writing come easily to you, or do you struggle with it? Do you put much thought into how you write description? What types of descriptive writing have you tackled — descriptive essays, blocks of description within larger texts, or descriptions woven throughout a narrative? Share your tips for descriptive writing by leaving a comment, and keep writing!

Further Reading: Abolish the Adverbs , Making the Right Word Choices for Better Writing , and Writing Description in Fiction .

Ready Set Write a Guide to Creative Writing

I find descriptions easier when first beginning a scene. Other ones I struggle with. Yes, intertwining them with dialogue does help a lot.

I have the opposite experience. I tend to dive right into action and dialogue when I first start a scene.

I came across this article at just the right time. I am just starting to write a short story. This will change the way I describe characters in my story.

Thank you for this. R.G. Ramsey

You’re welcome!

Great tips and how to practise and improve our descriptive writing skills. Thank you for sharing.

You’re welcome, Bella.

Hello Melissa

I have read many of your articles about different aspects of writing and have enjoyed all of them. What you said here, I agree with, with the exception of #7. That is one point that I dispute and don’t understand the reason why anyone would do this, though I’ve seen books that had things like that done to them.

To me, a book is something to be treasured, loved and taken care of. It deserves my respect because I’m sure the author poured their heart and soul into its creation. Marking it up that way is nothing short of defacing it. A book or story is a form of art, so should a person mark over a picture by Rembrandt or any other famous painter? You’re a very talented author, so why would you want someone to mark through the words you had spent considerable time and effort agonizing over, while searching for the best words to convey your thoughts?

If I want to remember some section or point the author is making, then I’ll take a pen and paper and record the page number and perhaps the first few words of that particular section. I’ve found that writing a note this way helps me remember it better. This is then placed inside the cover for future reference. If someone did what you’ve suggested to a book of mine, I’d be madder than a ‘wet hen’, and that person would certainly be told what I thought of them.

In any of the previous articles you’ve written, you’ve brought up some excellent points which I’ve tried to incorporate in my writing. Keep up the good work as I know your efforts have helped me, and I’m sure other authors as well.

Hi Stanley. Thanks so much for sharing your point of view. I appreciate and value it.

Marking up a book is a common practice, especially in academia. Putting notes in margins, underlining, highlighting, and tagging pages with bookmarks is standard. Personally, I mark up nonfiction paperbacks, but I never mark up fiction paperbacks or any hardcovers (not since college).

I completely respect your right to keep your books in pristine condition. And years ago, when I started college, I felt exactly the same way. I was horrified that people (instructors and professors!) would fill their books with ugly yellow highlighting and other markips. But I quickly realized that this was shortsighted.

Consider an old paperback that is worn and dog-eared. With one look, you know this book has been read many times and it’s probably loved. It’s like the Velveteen Rabbit of books. I see markups as the same — that someone was engaging with the book and trying to understand it on a deeper level, which is not disrespectful. It’s something to be celebrated.

Sometimes we place too much value on the book as a physical object rather than what’s inside. I appreciate a beautiful book as much as anyone but what really matters to me is the information or experience that it contains. I often read on a Kindle. Sometimes I listen to audio books. There is no physical book. The experience is not lessened.

I understand where you’re coming from. I used to feel the same way, but my mind was changed. I’m not trying to change yours, but I hope you’ll understand.

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Writing scenery: 5 ways to evoke captivating worlds

1. Describe the senses when writing scenery

2. Add evocative or action-related words

3. Inspire emotional mood and climate

4. Incorporate physical details of the scene

5. Add details to the scenery, yet keep it concise

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Describing landscapes

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Describing Words for Landscape: Examples & Adjectives

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Setting Description Entry: Desert

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The Top 10 Descriptive Paragraphs About Mountains

1. The Majestic Mountains

2. A Symphony of Silence

3. The Beauty of Solitude

4. The Dance of Light and Shadow

5. The Mountains’ Might

6. The Call of the Wild

7. A Sanctuary of Serenity

8. The Seasons’ Canvas

9. The Mountains’ Majesty

10. The Mountains’ Song

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Nonfiction Books » Literary Nonfiction

Outpost: A Journey to the Wild Ends of the Earth by Dan Richards

Train Dreams: A Novella by Denis Johnson

The White Album by Joan Didion

A Fortunate Man: The Story of a Country Doctor by Jean Mohr & John Berger

Dart by Alice Oswald

Field Work by Seamus Heaney

1 Train Dreams: A Novella by Denis Johnson

How to Describe Mountains in Writing (21 Tips & Examples)

21 Elements to Describe Mountains in Writing

1. Size: Making Mountains Move

2. Shape: Peaks and Valleys

3. Color: Painting with Nature’s Palette

4. Climate: A Tale of Ice and Fire

5. Wildlife: Mountain Dwellers

6. Geological Features: The Bones of the Mountain

7. Sounds: Echoes of the Mountain

8. Light and Shadow: The Mountain’s Chiaroscuro