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

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

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

Here’s how to describe buildings in writing:

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

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

1. By Historical Period

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Different historical periods offer a plethora of architectural designs.

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

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

Some historical periods to consider are:

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

2. By Material

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

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

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

Examples of materials :

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

3. By Height

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

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

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

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

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

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

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

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

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

5. By Function

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

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

Examples of functions :

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

6. By Atmosphere

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

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

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

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

7. By Surroundings

Buildings don’t exist in isolation.

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

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

Context, in essence, is a silent storyteller.

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

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

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

8. By Color

Colors are a palette of emotions.

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

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

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

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

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

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

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

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

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

10. By Architectural Style

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

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

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

Examples of architectural styles :

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

11. By Cultural Influences

Every culture has its distinct architectural imprints.

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

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

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

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

12. By State of Repair

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

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

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

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

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

13. By Decorative Elements

Details matter.

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

Examples of decorative elements :

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

14. By Lighting

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

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

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

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

15. By Acoustics

Beyond the visual, what does a building sound like?

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

Acoustics can also serve as indicators.

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

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

16. By User Experience

How does one navigate or experience the building?

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

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

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

17. By Integration with Nature

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

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

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

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

18. By Innovations or Anachronisms

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

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

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

19. By Symbolic Significance

Beyond their tangible attributes, some buildings hold symbolic meanings.

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

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

20. By Popularity or Notoriety

Lastly, how is the building perceived by the masses?

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

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

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

21. By Ornamentation and Artistry

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

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

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

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

22. By Patronage or Ownership

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

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

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

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

23. By Architectural Movement

Every era spawns architectural movements with distinct principles and aesthetics.

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

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

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

24. By Social and Economic Status

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

Mansions, penthouses, and gated communities often exude opulence.

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

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

25. By Sensory Appeal

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

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

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

26. By Folklore or Legend

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

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

Such tales add depth, intrigue, and cultural context.

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

27. By Climate Adaptation

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

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

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

28. By Relation to Other Structures

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

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

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

29. By Adaptive Reuse

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

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

Transformations show the evolving narratives of buildings.

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

30. By Emotional Resonance

How does a building make one feel?

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

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

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

31. By Historical Events

Many buildings carry the weight of significant historical events.

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

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

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

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

32. By Foundation

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

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

Different terrains require different types of foundations.

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

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

33. By Roof

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

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

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

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

34. By Landscape Integration

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

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

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

35. By Socio-political Context

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

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

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

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

36. By Architectural Philosophy

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

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

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

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

37. By Spiritual or Religious Significance

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

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

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

38. By Reflection of the Times

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

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

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

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

39. By Personal Stories and Anecdotes

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

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

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

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

40. By Flooring

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

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

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

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

41. By Urban vs. Rural Setting

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

Urban structures might prioritize vertical expansion and efficient space use.

Rural ones might spread outwards, integrating with nature.

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

42. By Ecological Impact

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

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

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

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

43. By Underground Space

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

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

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

44. By Human Interaction

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

Are its halls always crowded?

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

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

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

45. By Technological Advancements

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

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

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

46. By Adaptability and Flexibility

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

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

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

47. By Fragrance and Aroma

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

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

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

48. By Security Features

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

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

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

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

49. By Mystique and Legends

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

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

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

50. By Seasons and Weather

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

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

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

51. By Movement and Dynamics

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

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

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

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

52. By Proportions and Geometry

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

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

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

53. By Hidden or Secret Elements

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

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

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

54. By Time of Day

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

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

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

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

55. By Parking

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

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

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

Parking is a functional aspect that often gets overlooked.

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

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

56. By What Is Missing

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

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

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

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

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

57. By Literary Genre

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

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

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

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

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

50 Words to Describe Buildings

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

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

25 Phrases to Describe Buildings

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

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

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

Three Full Building Descriptions

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

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

The Old Manor House

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

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

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

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

Pinnacle Tower

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

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

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

Lilac Cottage

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

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

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

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

Final Thoughts: How to Describe Buildings in Writing

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

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

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

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

Related Posts:

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

Brittancia (Architechure)

• The Writer’s Field Guide to the Craft of Fiction
• How to Find a Premise for a Story
• How to Develop a Premise into a Story
• How to Describe Setting
• How to Create and Develop Characters
• How to Write a Scene
• How to Structure a Story
• How to Move Through Time and Space
• How to Write (Or Write Around) Plot
• How to Raise the Stakes
• How to Build Suspense
• How to Write Dialogue
• How to Write with Style
• Interviews with Writers

How to Describe a House

Domingo Martinez’s memoir, The Boy Kings of Texas , was a finalist for the National Book Award.

Describing a house in a story ought to be easy. After all, real estate listings do it every day: 3 bedrooms, 2 baths. For poetic purposes, maybe throw in a window and chair. Of course, more is needed—but is that  more simply more detail?

One of the best examples of a house description that I’ve read in a long time comes from the first chapter of  The Boy Kings of Texas . Domingo Martinez’s memoir tells the story of his family and growing up in Brownsville, Texas. It was a bestseller and a finalist for the National Book Award. You can  read the opening pages   at the website of The Diane Rehm Show..

How the Story Works

As a thought experiment, try describing the house or apartment where you live. (Seriously, give it a try.)

What happened? Odds are, you started with the property listings and then got stumped. A good description requires some organizational principle, and until you find it, you’re just listing things.

The house that Martinez describes belonged his father’s stepuncle. The two families did not get along, as Martinez explains here:

Elogio and his four sons clearly felt that Dad and his family did not belong in the Rubio barrio, since Gramma had married into the barrio when Dad was already four years old, a child from another man. Elogio was our Grampa’s usurping younger brother, and he wanted control of the family trucking business that Grampa had built. As Grampa’s stepson, Dad challenged Elogio’s succession. It was a Mexican parody of Shakespeare, in the barrio, with sweat-soaked sombreros and antiquated dump trucks.

That tension is important because it informs the way Martinez describes the Rubios’ house, property, and near-feral dogs:

The Rubios had kept these dogs unfed, unloved, and hostile. Presumably it was to keep burglars away from their prototypical barrio home: a main house, built by farmhands many years before, with subsequent single-room constructions slapped together according to the needs of the coming-of-age males and their knocked-up wetback girlfriends. As such, the houses were consistently in varying stages of construction and deconstruction, because the boys never left home; they just brought their illegitimate children and unhappy wives along for the only ride they knew, the one that headed nowhere.

Notice the word choices:  slapped ,  knocked-up ,  wetback , illegitimate, unhappy.  They’re all negative.

Now, think about what other words Martinez could have described the house (or the words that a Realtor would use):  big, hand-built ,  rambling ,  homey ,  comfortable . But those words would be totally out-of-place in this passage. Because Martinez has clearly defined his feelings toward the inhabitants of the house, the tone of the description is established. Once you’ve got the tone, the actual descriptions tend to present themselves automatically. The trick is to give your brain some guidelines. You’re not asking it to pull up every single detail about a place, just a few. The more clearly (and, usually, more emotionally) you define the guidelines, the easier it is to write the description.

It’s also worth noting that the description of the Rubios’ house is connected inextricably to the people who live in it. The main two sentences about the shape and construction of the house (beginning with Presumably… and  As such… ) end with the human rationale for the construction decisions ( according to the needs…   and  because the boys never left home ). The behavior and the needs of the family shape not only the house but the description of the house as well.

The Writing Exercise

Let’s describe a house or apartment (or wherever you or a character lives) using the passage from  The Boy Kings of Texas  by Domingo Martinez as a model:

• Choose your narrator or main character. If it’s you—good. If it’s a character in a story—also good. You need a primary perspective, a lens through which to view the house and everything else.
• Choose the house and its inhabitants.  Who lives there? How are they connected to your narrator or main character?
• Identify the emotional angle on the house. How does the narrator or character feel about the house or the people living in it? Don’t think too hard; just brainstorm. Does the character have warm feelings? Is the character bitter, disappointed, angry, nostalgic, sad? Are the first memories or scenes that come to mind funny? Tragic? Tense?
• Write a quick scene/anecdote that illustrates that emotion. Focus the scene or story on a character or two and a particular moment in time. Remember, the goal is to tell a story that conveys how you or your character feels about the place.
• Generalize about the people who live in the house (or spend time there).  This can be as simple as writing a sentence that begins, “They were the kind of people who…”
• Generalize how the people  used the   house.  Did they use in a communal way (everyone eating, talking, hanging out together)? Did they isolate themselves into rooms? Did they come and go at odd hours? What sort of activities did they do there? Keep in mind the sort of people you are (previous step). If they’re the sort of people who ____, that means they spent a lot of time _____, which really made me/your character feel ______.
• Generalize how the house was a perfect/imperfect fit for these activities and these people. Did the house allow the people to do the activities? Were the people cramped? Did the people modify the house in order to do the things they wanted to do? In what ways did they modify their own behavior to fit the house?
• Describe the house.  You’ve probably already written a few lines about the house. Now you’re summing them up. You might start with a sentence about the people: They were the kind of people who _____ or They spent a lot of time _____. Or, you can jump straight to the house with a sentence like this: It was the sort of house that _____ or It was a typical _____ house. Your goal is to write a description of the house that focuses on the ways it was used, the ways it fit a type of behavior, or the ways it shaped the inhabitants’ behavior. Keep in mind the cue words and phrases that Martinez uses ( according to the needs…   and  because the boys ). How can you describe the house in terms of causality?

As you likely know, people’s houses tend to become manifestations of their personality traits. The goal, then, is to write a description of a house that is as active as the people who live in it.

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Tags: character development , creative writing exercises , creative writing prompts , describing setting and place , Domingo Martinez , Hispanic literature , How to Write a Personal Essay , Texas literature , The Boy Kings of Texas

• Comments 9 Comments
• Categories Character Development , Setting and Place

9 Responses to “How to Describe a House”

This was very informative and very helpful! I look forward to trying these tips out very soon.

Thanks! Let me know how it goes.

Cool tips for writers like me. It’s really hard to describe a house in a story if you want to make it real for your readers. Thanks for sharing your thoughts.

wow. great tips for bloggers like me. You did a great job on writing this post. I was impressed by your ideas.

Please I nedd help .

Please how can i become a writer

I like this

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How to Describe a Mansion in a Story

By Rebecca Parpworth-Reynolds

In this post, we share 10 words you can use to write a mansion in your book. Are you ready to get into the details of how to describe a mansion in a story? Read on!

1. Excessive

“The excessive mansion had so many rooms that it felt like a maze, and the grand ballroom could easily fit an entire football stadium.”

“The amount of gold and marble that adorned the mansion would be seen by many as rather excessive .”

How it Adds Description

Often, mansions can be seen as status symbols of wealth, and as a result, can often be decorated to the extreme with luxury materials and additions. Although some might enjoy this display, others may disapprove, and see it as “excessive”.

2. Expansive

Covering a large area.

“The expansive mansion was a stunning sight to behold, with its towering columns, sweeping staircase, and numerous balconies overlooking the rolling hills.”

“The mansion was so expansive that guests had to charter golf carts to get from one side to the other.”

A mansion is described as “expansive” to emphasize its vastness and size. The mansion is not just large, but it also defies expectations of its size, helping to create a sense of awe and admiration in the reader’s mind.

Impressive and large in size.

“The grand mansion’s intricate architecture, elegant chandeliers, and ornate furnishings exuded an air of sophistication that left visitors in awe.”

“The mansion’s grand entrance with its sweeping staircase, high ceilings, and intricate details gave a sense of majesty and splendor that was fit for royalty.”

Mansions are usually large, awe-inspiring spaces. As a result, you may wish to refer to a room within the mansion, or indeed the mansion as a whole as being “grand”. The word also brings up ideas of status, helping your reader to get a picture of the people who might live there before they even turn up in your story.

4. Luxurious

Comfortable and expensive.

“The luxurious mansion’s expansive marble floors, high-end appliances, and state-of-the-art home theater system were just a few of the amenities that he could simply not live without.”

“The piece de resistance was the mansion’s luxurious master suite, complete with a private balcony overlooking the ocean, a Jacuzzi tub, and a massive walk-in closet.”

Mansions are usually kitted out so that those that live in them can do so in absolute comfort and with every convenience at their disposal. These “luxurious” residences can also help you to be able to create a contrast between the mansion in your story and your everyday home.

Expensive and luxurious.

“The opulent mansion, with its manicured gardens and imposing entryway was the epitome of an exclusive lifestyle that he would never be able to afford.”

“The opulent mansion’s decadent decor, from the imported marble floors and walls to the ornate hand-carved woodwork and gilded accents, was a testament to the owner’s extravagant tastes.”

Mansions are well and truly “opulent”, usually containing many bespoke items, designs, and items that others would never dream of being able to afford. This level of living often leaves those living in them to seem out of touch with the real world to your reader.

6. Ostentatious

An obvious display of wealth or power designed to attract the attention of others.

“The ostentatious mansion’s garish gold-plated fixtures, neon-lit fountains, and over-the-top interior design screamed of tackiness and excess, rather than sophistication and refinement.”

“Compared to the other, sleek and sophisticated mansions on the street, this one stood out ostentatiously as if it needed to one-up its neighbors at all costs.”

Not all displays of wealth are classy. Sometimes mansions can be made to be “ostentatious” by their owners. This can then leave your reader questioning why the homeowners wish to openly show their wealth in such a way, whether it is insecurity or another reason under the surface.

7. Palatial

• Large and beautiful .
• Like a palace.

“The palatial mansion’s sprawling estate, with its numerous guest houses, horse stables, and tennis courts, was fit for a king.”

“The palatial entrance hall of the mansion made her feel as if she had stepped into some sort of fairy tale.”

Some mansions can be so large or so decadent in the way that they are decorated, that they are almost like royal palaces! Help your reader to understand the grandeur of the surroundings that your characters find themselves in by describing it as “palatial”.

8. Spacious

Having a lot of space .

“The mansion’s spacious living areas, including multiple sitting rooms, a grand formal dining room, and a sprawling chef’s kitchen, provided ample room for hosting large gatherings and entertaining guests in style.”

“The mansion’s spacious bedrooms were almost like standalone apartments, offering everything the guests could need without even needing to leave their quarters.”

Describing a mansion as “spacious” in your story not only helps to illustrate how large it is, but how open and airy it is even though it has everything one could ever need inside. This space could also help those inside to feel lonely or alone, as they may be far away from people who are still in the same building as them due to the sheer expanse.

Formal in style and appearance.

“The stately mansion’s impressive facade, with its towering columns, intricate stone carvings, and regal symmetry, was a testament to its timeless elegance and grandeur.”

“The stately mansion’s expansive grounds, featuring a sweeping driveway, manicured lawns, and mature trees, exuded an aura of refinement and exclusivity, setting the stage for the impressive home that lay beyond.”

If your mansion has a lot of history and reputation behind it, you may wish to describe it as “stately”. This suggests that the mansion is more than just a large and luxurious home: it’s a property that exudes a certain sense of authority, tradition, and respectability, usually mirroring its owners.

10. Statement

Something that has been explicitly designed to be noticeable and stylish.

“The mansion was built not only as a home but as a statement of wealth, power, and status.”

“The grandiose design of the mansion was a clear statement of its owner’s taste for opulence and extravagance.”

Mansions aren’t usually built for no reason, and are usually made in order to say something. As a result, they become not just buildings, but “statements” of power, status, and even the character and personality of their owners. What “statement” the mansion in your story offers to your reader and your characters is up to you!

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A Quick Writer’s Guide to Describe Interiors

Creating immersive descriptions of indoor spaces is more than just scene setting —it’s an invitation to the reader to step into your world. Describing the interior of buildings with vivid detail can draw readers into your narrative. So let’s explore how to describe interiors using multiple sensory experiences and contexts.

• Lighting: soft glow of lamps, harsh fluorescent lights, or natural light.
• Colour and textures; peeling paint, plush velvet, or sleek marble.
• Size and scale: is it claustrophobically small or impressively grand?
• Architectural features: high ceilings, crown mouldings, or exposed beams.
• Furnishings: are they modern, sparse, antique, or cluttered?
• Style and decor: what style is represented, and how does it affect the atmosphere?
• State of repair: is the space well-kept, neglected, or under renovation?
• Perspective and layout: how do spaces flow into each other?
• Unique design features: describe sculptural elements, or things that stand out.
• Spatial relationships: describe how objects are arranged—what’s next to, across from, or underneath something else?
• Describe echoes in large spaces or the muffled quality of sound in carpeted or furnished rooms.
• Note background noises; is there a persistent hum of an air conditioner, or the tick of a clock?
• Describe the sound of footsteps; do they click, scuff, or are they inaudible?
• Include voices; are they loud and echoing or soft and absorbed?
• Is there music? Is it piped in, coming from a live source, or perhaps drifting in from outside?
• Capture the sounds of activity; typing, machinery, kitchen noises, etc.
• Describe natural sounds; birds outside the window, or the rustle of trees.
• Consider sound dynamics; is the space acoustically lively or deadened?
• Include unexpected noises that might be unique to the building.
• Consider silence as a sound quality. What does the absence of noise convey?
• Identify cleaning products or air fresheners. Do they create a sterile or inviting smell?
• Describe cooking smells if near a kitchen; can you identify specific foods?
• Mention natural scents; does the room smell of wood, plants, or stone?
• Are there musty or stale smells in less ventilated spaces?
• Note the smell of new materials; fresh paint, new carpet, or upholstery.
• Point out if there’s an absence of smell, which can be as notable as a powerful scent.
• Consider personal scents; perfume, sweat, or the hint of someone’s presence.
• Include scents from outside that find their way in; ocean air, city smells, etc.
• Use metaphors and similes to relate unfamiliar smells to common experiences.
• Describe intensity and layering of scents; is there a primary scent supported by subtler ones?
• Describe people’s actions; are they relaxing, working, hurried, or leisurely?
• Does the space have a traditional use? What do people come there to do?
• Note mechanical activity; elevators moving, printers printing, etc.
• Include interactions; are people talking, arguing, or collaborating?
• Mention solitary activities; someone reading, writing, or involved in a hobby.
• Capture movements; are there servers bustling about, or a janitor sweeping?
• Observe routines and rituals; opening blinds in the morning, locking doors at night.
• Include energetic activities; perhaps children playing or a bustling trade floor.
• Note restful moments; spaces where people come to unwind or reflect.
• Describe cultural or community activities that might be unique to the space.

Decorative style

• Describe the overall style; is it minimalist, baroque, industrial, or something else?
• Note period influences; does the decor reflect a specific era or design movement?
• Include colour schemes and how they play with or against each other.
• Mention patterns; on wallpaper, upholstery, or tiles.
• Describe textural contrasts; rough against smooth, shiny against matte.
• Observe symmetry or asymmetry in design.
• Note the presence of signature pieces; a chandelier, an antique desk, or a modern art installation.
• Mention thematic elements; nautical, floral, astronomical, etc.
• Describe homemade or bespoke items that add character.
• Include repetitive elements; motifs that appear throughout the space.
• Mention historical usage ; was the building repurposed, and does it keep its original function?
• Describe architectural time periods; identify features that pinpoint the era of construction.
• Note changes over time; upgrades, downgrades, or restorations.
• Include historical events that took place within or affected the building.
• Mention local or regional history that influenced the building’s design or function.
• Describe preservation efforts; are there plaques, restored areas, or visible signs of aging?

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February 19, 2016

44 Ways to Describe Buildings–Homes I

For the next few months, weekly writing tips will include word choice suggestions. That includes:

• colorful and original descriptions
• pithy words and phrases
• picture nouns and action verbs
• writing that draws a reader in and addicts them to your voice

After taking some advice from Crawford Home Buyers , I keep a  collection of descriptions that have pulled me into the books.

It’s amazing how skilled writers can use just a few carefully chosen words to transport readers into the world of their story, capturing their attention and making them want to stay. While some authors might focus on describing homes in detail, others might take a different approach, relying on powerful imagery and sensory details to evoke a mood or feeling. No matter your writing style, it’s important to find a way to connect with your readers and draw them in. When it comes to bridging the gap between planning institutions and entrepreneurs, one useful resource is  https://netivey-hakama.co.il/ . This service produces professional content and promotes the transformation of licensing into a profession with required training and education, helping to connect planners and authorities with the wider community and promoting effective collaboration.

A note: These are for inspiration only . They can’t be copied because they’ve been pulled directly from an author’s copyrighted manuscript (intellectual property is immediately copyrighted when published).

• Fair-sized house built of red Lyons Sandstone with the most god-awful-looking picket fence I’d ever seen.
• Small upstairs apartment on Newport Island, a tiny piece of land accessible only by a bridge so narrow, it would admit just one car at a time.
• The weather-beaten slat cottage sat at the far end of a mostly brown lawn. Wood silvered by the sun. Roof shingles warped. Small stands of plantain and giant bird-of-paradise for privacy. Despite the weathered appearance of the slat cottage, there was hope for its revival thanks to the services of a reliable local company specializing in affordable roofing solutions. If you too wish to safeguard your home against the elements and enhance its aesthetic appeal, going for this local company is the answer. Their dedication to quality and affordability ensures that your roof not only withstands weather challenges but also adds to the charm of your dwelling. With their assistance, the weather-beaten cottage could regain its former glory, proving that a reliable roofing projects can breathe new life into any home.
• Rambling old farm house
• Gleamed with the spotless silence of for-company-only.
• He leaned on the old boards. They felt thin and veined, frozen by a hundred winters, baked by a hundred summers. They smelled of dust and age. A big house from buy houses syracuse ny , the kind in which most American kids dreamed of growing up. Secluded among trees on one of DC’s most exclusive streets, it had turrets, gables, dormers, balconies, a screened-in front porch, a free-standing garage, a gazebo, a pool, formal gardents, the American dream.
• Sturdy two-story residence designed without the least imagination
• A set of sagging wooden steps descended three treads from the door

Contact an Industrial Cleaning Services provider if you’re managing an industrial facility or planning to sell a commercial property.

• A room barely big enough to exhale into
• A room that showed her lack of interest in anything to do with what people thought of her
• Small with clean white walls, a twin bed, a desk with a blank blotter on it, sliding closets opposite the bed, and thin green shag carpet. Or make a call to Zerorez to do this job professionally.
• My Writing Area: My computer faces out the window. I like having the sky and buildings in the background. Occasionally a bird or plane flies by in the distance. To my far left is my 42″ flatscreen TV (size does matter), which often displays my daily dose of CNN or Grey’s Anatomy. Next to that is my Buddhist altar, which I need to make better use of. To my right is a framed poster displaying a poem of mine that had been on Chicago buses and trains. And to the far right is a black and white picture of Grand Central Station with wide beams of light gushing in through the windows. The beams look like they are about to make the commuters levitate at any minute and float skyward. A single light burned, casting light on a chintz couch and an antique Quaker chair
• Improvised kitchenette off to one side
• Walls and ceilings were covered with mirrors, a high-tech bordello.
• Furnishings were cheap, black-painted. A worn mustard-yellow bean-bag chair, a relic of the seventies. An old tape deck and a towering set of speakers whose cloth was fraying
• A front door that could accommodate a family of giraffes.
• A foyer that would accommodate the Serengeti Plant at the foot of a vast curving staircase that probably went to heaven
• Polished wood floors and a graceful banister that curved up toward a soaring second floor gallery.
• Persian rug cove red a shopworn carpet.
• Prints of gentlemen riding to hounds decorate the walls.
• Crumbling rock walls
• Beautiful high arched windows
• Velvet drapes framed the windows, the lace inner curtains remained drawn, allowing daylight to enter while rendering the heart-stopping view over the city a blur
• bay windows
• two tall windows allowed sunlight to flood the room
• the windows flanked a grey fabric sofa, burgundy throw
• sheer lace curtains bordered by heavy burgundy drapes matching

Click for the complete list of 70 69 writer’s themed descriptions .

Most popular collections:

51 Great Similes to Spark Imagination

How to Describe Nature

178 Ways to Describe Women’s Clothing

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This entry was posted in WordDreams .

Jacqui Murray

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How to Write Creative Real Estate Listing Descriptions (+ Examples)

A nationally recognized founder, branding expert, and industry thought leader, Emile cut his teeth in real estate in 2007 crafting marketing strategies for the Chrysler and MetLife Buildings. See full bio

• 4 Elements of Great Listing Descriptions
• 7 Listing Description Tips From a Pro
• Real-life Examples

One of the most common requests I get from Realtors is to write their real estate listing descriptions for them. Since I rarely have the time (or energy) for freelance writing these days, I decided to put together this step-by-step guide to writing creative listing descriptions.

First, I tackled the four crucial elements of a killer listing description and how to create them. After the guide, I included nine tips for better writing (including how artificial intelligence can help you), and then wrapped up with some examples of my favorite creative listing descriptions.

4 Elements of Great Listing Descriptions: A Step-by-Step Guide

1. ‘Brand’ Your Listing With a Short Title

Length: One sentence

The most creative listing descriptions start with a one-sentence-or-less title. Taking the time to write a catchy “brand” for your listing will draw people in and help them see it as a home, not just pictures on the internet. It will also help you focus your description around a central theme, so that it feels cohesive. If you want to attract certain buyers, a slogan is a way to zero in on that target market. Here are some examples of great branding one-liners from Coldwell Banker Warburg agent Jeanne Byers from our example listing descriptions below:

Millionaire details. Miser maintenance.

• Artsy, techie, picky? Welcome home.

Prewar. Shaken and stirred.

2. Pitch Your Audience on the Home’s Best Features

Length: Two to three sentences

After your title, the next section of your listing description should be a two- or three-sentence pitch of the home’s best features. This should be a narrative description, not just a list of features, or, God forbid, a bulleted list!

Here’s another example from Jeanne. Note how she hits all the apartment’s best features in a narrative format.

With its 14-foot beamed ceiling and massive south-facing picture windows, 4J pairs the beautiful bones of its 1913 Beaux-Arts origins with an extensive and impeccable renovation. Converted to condos in 2008, the interiors at 254 Park Avenue South were designed with a modern aesthetic, high-quality finishes and appliances, and a unifying sense of space.

3. Pitch the Benefits of the Location & Neighborhood

Length: One or two sentences

After you’ve highlighted the home’s best features, pitch the benefits of the home’s location and neighborhood. If these elements aren’t great, try to find a silver lining. For example, if the home is located on a noisy street with lots of bars that are open late, talk up the access to nightlife. If it’s in a not-so-great neighborhood but on a pretty block or in a great school district, mention those perks instead. Here’s a continuation of Jeanne’s example from above:

254 Park Avenue South is a full-service luxury condominium with a 24-hour concierge, live-in resident manager, gym, and lounge. Ideally situated in Flatiron, the building is located blocks from Union Square, Gramercy Park, and Madison Square Park—it is central to Manhattan’s most vibrant and sought-after neighborhoods, shopping, and now—outdoor dining experiences.

4. Finish With Caveats That Are Important for the Buyer

While I never suggest agents write a “warts and all” listing description, you should still alert potential buyers to any important information. A house hunter might forgive you for not mentioning the noisy street or less-than-perfect driveway, but they likely won’t forgive you if you don’t mention that it’s in a senior’s-only development. Here’s Jeanne again:

Please note 50% financing. Pied-a-terres welcome. Buyer pays 2% flip tax—showings by appointment.

9 Real Estate Listing Description Writing Tips From a Professional Writer

1. sell benefits, not features.

This is one of the first rules of copywriting. Every famous copywriter, from David Ogilvy to Joseph Sugarman, agrees.

What does this mean for your listing description? Simple. Instead of telling your audience the listing has a big backyard, tell them how much fun they could have playing touch football with their family in the yard or the privacy that it offers.

Here’s Warburg listing agent Steven Gottlieb on selling benefits, rather than features, in your real estate listing descriptions: “ If there’s a balcony or terrace, maybe the description mentions enjoying coffee and the morning paper al fresco before a busy day or sipping a glass of prosecco in the evening air.”

2. Research the Proper Architectural & Design Terms Before You Write

If you earned a listing, the very least you can do is learn the proper architectural and design terms to describe it. Describing herringbone floors as “beautiful zig-zag wood floors” is going to mark you as unsophisticated at the very least. But it also telegraphs to your sellers that you aren’t willing to take the time to research the property they entrusted you to sell.

If you need a crash course in architectural styles and features, check out our guide: An Agent’s Guide to Home Styles, Architecture & Design .

3. Make Your Real Estate Listing Description Concise, but Precise

Despite all of our hard work and clever content flourishes, the sad reality is that most people skim content online these days . Very few will take the time to read every word you write, even for a relatively short property description. So make sure to hit the key selling points of your listing early on and avoid overly lengthy, wordy descriptions. 

4. Avoid a List of Features or Details

While too-long real estate listing descriptions are an issue, don’t think you can just get away with a bullet-point list of features either. The user experience of portals like Zillow are already designed to present data relevant to the buyer. So the number of bedrooms, square footage, and so forth are already shown to your buyer in a neater, more digestible format by the portals. A bulleted list of the same features is redundant and a wasted marketing opportunity.

5. Write Without Fear, Edit Without Mercy

One of the biggest mistakes that new writers make is laboring over every sentence, word, and punctuation mark. Not only is this exhausting, but it’s also actually counterproductive to the writing process. Instead, when you start any writing project, just sit down and write. Don’t sweat grammar, punctuation, or spelling—just write.

Once you have a draft done, read it out loud. If you find yourself stumbling over your own words, chances are your copy needs some work. Start by working on paragraphs to make sure they all have a clear subject, then drill down to sentence structure, word choice, and finally grammar. The key to editing well is to be merciless. If it doesn’t work, delete it. Period. Yes, you worked hard on your copy. But don’t cling to a mistake just because you took a long time making it!

6. Use Tools to Check for Mistakes

There is no excuse for grammar or spelling mistakes in your listing descriptions. Luckily, you no longer need to hire an editor or bug your old high school English teacher to check your copy for errors. It’s not perfect, but Grammarly is free and will find errors that you and a regular spell check might miss.

7. Include Creative Adjectives That Sell

The words (and phrases) you use matter. Powerful, descriptive, creative, unexpected words make a reader pause and want to learn more—and can even drive them to action. The right words can inspire someone to immediately call their agent and schedule a showing. 

To help zero in on the right words to use, we put together a list of 723 creative words top agents use in their listing descriptions. Here’s a sneak peek:

For 701 more, click on over here:

250+ Real Estate Words to Market Your Next Listing

8. use ai to improve (or write) your listing descriptions .

Everyone is talking about AI and wondering how it can benefit our industry. Spoiler alert: This is how it can (and is!) benefitting our industry. AI can write listing descriptions for you, which saves you time and effort, and lets you focus on selling the property that can now be beautifully described in only a few seconds. 

But just asking ChatGPT to rattle off a stellar listing description isn’t going to cut it, not at this point anyway. Unless you have developed your own flawless prompts and have the time to tweak, edit, and look for hallucinations in the copy, you need an intermediary to “talk” to the AI for you. Brilliant minds who saw AI coming on the horizon have created tools to tackle this very use case, which make sure AI does all the heavy lifting. For a real deep dive, check out Jodie Cordell ’s in-depth guide to the best AI tools in real estate .

9. Always Get Another Set of Eyes on Your Copy, Ideally a Professional

One of the trickiest parts of writing anything is getting out of your own head. It’s just too easy to fall in love with your writing or miss your own errors. You need distance from your work to judge it objectively. 

That’s why we suggest working with a professional whenever possible. Send your copy over to your marketing team or a few members of your brokerage for their opinion before you publish.

Creative Real Estate Listing Description Examples 

Since the best way to learn anything is by example, here are a few examples of effective listing descriptions from Jeanne Byers of Warburg Realty in Manhattan, one-half of Manhattan luxury team Case+Byers , and a couple of listings from Charleston, South Carolina.

165 East 72nd Street, Apt 2H, New York, NY

I love a listing that not only shines a light on the interior, but also the views of the exterior. Who can resist a north-facing tree-lined street?

Every inch of this 530-square-foot studio has been meticulously planned and renovated using the highest-quality materials, craftsmanship, and interior design aesthetic. The dramatic foyer is lined in Phillip Jeffries grasscloth wallpaper and flanked by a 9-foot-wide wall of closets with floor-to-ceiling mirrored French doors. The walls and the ceiling have been skim coated, and custom hardwood floors installed throughout. You’ll find impeccable millwork on display in every door, molding, trim, and built-in cabinet. A computer workspace/home office has been integrated into the kitchen, which features Carrera marble countertops, white lacquered cabinetry, and appliances by Wolf, Miele, and Liebherr.

The well-proportioned living space has a north-facing, tree-lined view of 73rd Street through a bank of windows with custom window treatments. The expansive bathroom is outfitted with Waterworks fixtures, a deep soaking tub with shower, basketweave marble floor, and a linen closet. 2H is wired with smart-home technology, including high-speed internet in all rooms, Lutron lighting, and discreet speakers in the living room and bathroom.

Located west of Third Avenue, 165 East 72nd Street is a premier full-service cooperative boasting a knockout lobby and staff, live-in resident manager, stellar financials, gym, and famously low monthlies. At $677/month, 2H is a triple-mint home or pied-a-terre that won’t cost a mint.

333 East 53rd Street, Apt 12H, New York, NY

Even though this one is pretty feature-heavy, the pithy headline sets the tone for a fun, compelling read.

The architects blew the doors and the walls off this prewar, retaining the beautiful proportions of its 1930s bones while energizing the space. The galley kitchen was opened to the living room, maximizing the light and views from south-facing windows.

With its BlueStar range, Miele dishwasher, Wolf microwave, Sub-Zero refrigerator, and custom cabinetry, the kitchen was designed to integrate seamlessly with the main room. A bespoke dining table tucks under the storage island to reduce its footprint for daily use.

A recessed projection screen and ceiling-mounted projector are perfect for movie night or online exercise classes. A windowed bathroom with Duravit and Grohe fixtures and a glass-enclosed bath/shower is a serene and spa-like retreat.

12H has all-new plumbing, electrical, hardwood floors, custom doors with hidden hardware, ample storage, and exquisite skim-coated walls, beams, and ceilings. An entrance foyer and hallway between the living room and bedroom maintain the graceful separation of living spaces the original architect intended.

333 East 53rd Street is an elegant full-service building, centrally located, with solid financials. It features a gorgeous planted roof deck with spectacular views, a live-in super, central laundry, and gym. Pets are welcome (dogs under 30 lbs).

Electric is included in the maintenance. Showings are by appointment with 24 hrs notice required.

27 Lamboll St, Charleston, SC 29401

Cassina Real Estate Group’s listing description might be a little long, but it gets full marks for describing benefits rather than features and helping the reader imagine their life in this could-be-yours home: 

Welcome to the Richard Reynolds House, a magnificent South of Broad gem that beautifully blends rich heritage with modern luxury. Originally built in the 1850s, the home underwent an extensive renovation in 2017 and offers the perfect fusion of historic charm and contemporary sophistication.

Located on the prestigious corner of Legare and Lamboll Streets, this remarkable residence is within walking distance of Charleston’s most sought-after attractions, including White Point Garden, The Battery, art galleries, renowned local restaurants, museums, and more. As you step inside, you’ll be captivated by the spacious interior, meticulously adorned with artfully preserved historic details, upscale finishes, and an abundance of natural light. From generous formal rooms to sunlit bedroom suites, every space exudes an undeniable sense of grandeur.

The stunning spiral staircase, adorned with custom chandeliers, gracefully leads you to all floors. Notable interior features include tall ceilings, designer light fixtures, crown molding, ornate door frames, custom wallpaper, wide-plank hardwood floors, and an elevator. The main floor presents light-filled formal rooms that effortlessly connect with the covered piazza, allowing for seamless indoor-outdoor entertaining. The central hall, featuring a coffered ceiling, guides you to the formal dining room and living room, adorned with wainscoting, original fireplaces, ornate ceiling medallions, and contemporary light fixtures, effortlessly blending the old and the new. 

The light-filled eat-in kitchen is a chef’s dream, with custom cabinets, marble counters and backsplash, high-end stainless appliances, a custom range hood, a center island, a built-in bench, and French doors that open to a delightful piazza, perfect for enjoying breakfasts al fresco. This home offers four exquisite bedroom suites, each with access to an outdoor living space. The primary bedroom suite is a true escape, featuring piazza access, a cozy fireplace, a walk-in closet with custom shelving, and an elegantly appointed en suite bathroom with marble floors, a soaking tub, and a marble shower. There is also a handsome office (fourth bedroom) with mahogany built-ins, a coffered ceiling, a fireplace, and an en suite bathroom. The third floor houses two additional bedroom suites, each offering access to a deck overlooking the enchanting city skyline.  The ground floor of the home features spacious living areas, thoughtfully separated into a media room, dining area, and sitting room. Exposed brick, restored beams, fireplaces, ornate mantels, and extensive built-in bookshelves add character and warmth, while multiple French doors seamlessly connect the interior with the outdoor living spaces and the private backyard. Entertain with style in the custom bar room, featuring tiled walls, granite counters, and custom cabinets with two wine refrigerators, offering the perfect setting for crafting poolside drinks. A full bathroom and a mudroom with custom cabinets, including a full refrigerator, complete the ground floor. 

Recent owner improvements, including refinished hardwood floors, exterior and interior painting, and thorough maintenance of all systems, ensure that this historic home is in impeccable condition and ready to be cherished by its new owners.

1 Water St. Charleston, SC 29401

William Means ’ listing description does a good job of telling a story of flooding, storms, and house-elevation, one that is extremely relevant to homebuyers in Charleston, SC:

This handsome 1857 Italianate style home marks a new era in modern preservation. Two years ago, 1 Water Street became the first historic brick property in Charleston to be elevated eight feet off the ground. The foundation was engineered to the highest level by Morris Construction, offering the next owners confidence and peace of mind in its forward-thinking design.

After Charleston’s most recent storm, the interior and mechanicals of the home were securely protected from flood risk and the remainder of the property required minimal cleanup. Its structure also provides the added benefit of lowered insurance costs. 

1 Water Street is set in the most desirable location in Charleston—just steps away from the harbor and all the charm of the city’s most notable architecture. Built with a side-hall entryway, the home has expansive double-gallery rooms opening onto the western piazzas, perfect for entertaining and gatherings. The rear of the home features a gourmet kitchen that opens into the comfortable family room with a back porch. On the second floor you will find the expansive primary suite complete with a spacious walk-in closet, sprawling bathroom and glimpses of the harbor. A generous guest bedroom faces Water Street and is complete with an en suite bath and custom closet. 

There are two additional bedrooms on the third floor with beautiful city rooftop views.   Looking off the side piazzas, you will see the two-car driveway and beautifully landscaped garden designed by Glen Gardner. Venture beneath the home where you will find room to store your golf cart and install a future elevator should one need it. Complete with historic details, and built to last, this property is waiting for its next owners to call it home.

An Example From Addressable’s AI Tool, Listing Architect 

While the listing description for this made-up property needed a few tiny tweaks, even the most experienced copywriter would be impressed: 

Welcome to the ultimate retreat in luxury living, located at 2136 Boat Rd. on Johns Island, SC. This stunning 4-bedroom home boasts a thoughtfully designed 3,779 square foot floor plan complete with 10’ ceilings and ample natural light throughout. Enjoy an unrivaled lifestyle surrounded by peaceful privacy and wildlife views on half an acre of land overlooking the water. 

The grand entrance leads you into a substantial library and chef’s kitchen featuring Thermador appliances that will make cooking for friends and family easy and enjoyable. The open main level is complete with a wine cellar, mudroom, media room, and ground-level loggia with outdoor kitchen perfect for entertaining guests all year round—from barbecues to movie nights! 

On the upper level lies your luxurious master suite with balconies from which you can enjoy beautiful sunsets over the horizon or take some time off to meditate amidst nature’s beauty. An additional three bedrooms are accompanied by smart-home technology along with a yoga/home gym studio; making this space ideal for any active lifestyle enthusiast while ensuring everyone has their own private sanctuary within their own walls! 

This property provides everything one could want out of modern luxury living: tranquil surroundings enhanced by stunning views plus thoughtful design elements that combine comfort and convenience that will exceed even your highest expectations! To experience this unparalleled residence firsthand, schedule your showing today!

Bringing It All Together

Have any examples of effective creative real estate listing descriptions or tips to write them? Let us know in the comment section. 

A nationally recognized founder, branding expert, and industry thought leader, Emile cut his teeth in real estate in 2007 crafting marketing strategies for the Chrysler and MetLife Buildings.

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Property Descriptions 101: How to Write Listing Descriptions That Sell

Help your home stand out with a listing description that's creative, engaging, and showcases your home's best features.

When buyers (and their agents!) are browsing online real estate listings, professional photos are what grab their attention first, but it's the listing description that really tells the story of the home.

Listing descriptions are an essential part of real estate advertising, and a well-written one can help your house stand out from all the other listings in your area. Remember, your real estate listing description won't just show up online — it's what will be used on flyers, social media, open house materials and more.   

Whether you’re selling your house for sale by owner (FSBO) or want to ensure that your agent has written an effective description for your home, here are the things you need to know about great real estate listing descriptions.

Keys to writing a great listing description

• Format your description
• Use creative words to highlight your home's best features
• Avoid words that are known to deter buyers
• Mention brands, upgrades and unique features
• Pay attention to length, grammar and accuracy

Formatting: How to write a property description

The first thing to keep in mind is formatting. Formatting your description is important because it helps buyers understand your home's appeal and makes it easy to share the unique features that set your home apart.

Your whole description should be 250 words or less, not only because of text space limitations on your local multiple listing service (MLS) and sites like Zillow, but also because buyers are unlikely to read a very long description. Aim to be concise throughout the whole description. Note that some sites have a special field for headlines, and on other sites, your headline will just be the first line of text in your main description field. Either way, you should include the headline in your total word count.

Write an engaging headline

Keep your headline short and descriptive, while focusing on a benefit that is location-specific. If you're using an agent, they should be able to give you some guidance on what's popular in your  area, but you can also review other local listings for inspiration. Here are some good examples of headlines that pair location details with something unique about the home:

• Condo in Chicago: "West Loop condo with private roof deck and sweeping city views"
• House in Seattle suburbs: "Stunning craftsman home in red-hot Kirkland"
• Townhouse in the Bay Area: "Loft-style living in Mill Valley"

Construct an opening statement

Your opening statement should answer the buyer’s question, 'What am I looking at?' It should give buyers a reason to continue reading. It's also a great place to showcase features that you couldn't fit in the headline, but that buyers will love. Here are a few examples:

• "Check out this top-floor condo in an all-brick, elevator building with a deeded indoor parking space."
• "This spacious, single-family home in Boston features both modern amenities and architectural character in a fantastic location."
• "This recently renovated tri-level townhome lives like a single-family, without the maintenance."

When writing your opening statement, here are some popular features that, if your home possesses them, you should definitely include:

• Parking (especially in city listings)
• Double garage (or larger)
• Private backyard or outdoor space
• Mountain view
• Lakefront property
• Near transit access
• Renovated kitchen
• Mother-in-law suite (or other passive income potential)
• Flexible/room to expand
• Lush landscaping

Detail a listing description

The description text makes up the bulk of your word count, and it's where you should review all of the home's main features: beds, baths, square footage, lot size, location, upgrades, etc. But don't just rattle off a list of all the features. Use compelling, creative language to highlight details that make your home special. Your description should pique buyers' interest enough that they want to schedule a tour, and as the owner, you are in the unique position of being able to tell a story about what is special about the property.

Offer special promotions

If you're trying to sell your home quickly and want to incentivize buyers, you can add a special promotion to your listing description. Some of the most compelling buyer concessions include:

• Home warranty: For just a few hundred dollars, you can purchase a one-year home warranty for your buyer. It's a nice little value-add that buyers appreciate, as it offers piece of mind for their purchase.
• Credits toward closing costs: In buyers markets , where sellers are competing for offers from a small pool of buyers, offering to pay for some or all of a buyer's closing costs can be very appealing.
• Seller financing: Seller financing is when you act as the bank for your buyer for a period of time, often until they can get approved for a conventional bank loan. While you'll have to assume the risk of the buyer defaulting, it can open up your home to a bigger pool of potential buyers.
• Flexible close date: If you’re able to accommodate either a quick close or a longer close, mention that in your description. It can be very attractive to buyers with a rigid time table.

Include a call to action

A call to action is a closing line in your description that tells buyers what you want them to do next: 'Don't miss out on this captivating home. Schedule a private tour today!' Or, 'This home isn't going to last — schedule your showing before it's gone.'

Writing creative real estate listing descriptions

Using the listing words proven to attract buyers.

Using the right words in your home description can mean more money in your pocket. That was one of the findings of the book ' Zillow Talk: Rewriting the Rules of Real Estate ,' written by Zillow CEO Spencer Rascoff and Chief Economist Stan Humphries. It highlights some of the listing words that can attract buyers.

• "Luxurious:" According to the book, homes with a median estimated value in the bottom third of their market that were described as "luxurious" beat their expected sales price by an impressive 8.2 percent.
• "Captivating:" Also from the book, homes with a median estimated value in the top third of their market that were described as "captivating" beat their sales price by 6.5 percent.
• Other words:  There are plenty of other real estate marketing words that Zillow found valuable, including "stainless" (as in appliances), "granite," "basketball" (as in a court), "landscaped," "pergola," "remodel," "tile," "upgraded" and "updated." More descriptive words that were also winners were "impeccable," "beautiful" and "gentle" (as in rolling hills).

Need some inspiration for creative real estate listing descriptions? Here are just a few examples found on Zillow:

• For a listing in downtown Portland: "From the remodeled open layout to the unique landscaped roof deck with skyline views, this home is truly captivating."
• For a listing in Cleveland suburbs: "Step into your newly upgraded luxurious chef's kitchen, outfitted with stainless steel appliances, new granite countertops, and slate tile floors."
• For a listing in Brooklyn: "No stone was left unturned during the recent remodel, which includes updated hardwood flooring throughout and a brand-new subway tile backsplash."
• For a top-tier home: "Brush up on your game on your own private basketball court, then cool off underneath the pergola in your scenic and secluded backyard."

Features to include in your listing description

Zillow researchers found that mentioning certain keywords in your listing makes an impact on both how much you can sell your home for and how quickly it will sell. Here are a few of the home features that got sellers the most bang for their buck and helped them sell faster:

• Listings descriptions with “barn doors” sold for 13.4 percent more, and 57 days faster.
• Homes with “shaker cabinets” sold for 9.6 percent more than expected, 45 days faster.
• Another popular kitchen feature, “farmhouse sink” helped homes sell for 8 percent more.
• “Subway tile” garnered almost 7 percent more, and 63 days faster.
• The term “quartz” helped homes sell for 6 percent more, compared to “granite” at 4 percent.

Real estate advertising words to avoid

In the same way that there are words that help your home sell faster or for more money, there are definitely some terms you'll want to steer clear of. Unless you are truly selling your home as a fixer-upper or a flip, avoid these nine real estate marketing words: 'Fixer,' 'TLC' (as in the home needs some TLC), 'cosmetic,' 'investment,' 'investor,' 'potential,' 'bargain,' 'opportunity' and 'nice.' While 'nice' is a positive word, it can be highly subjective. Instead of saying you have an 'older home in need of TLC,' say something like 'A classic abode that can be customized to your liking.' Or instead of 'Calling all investors!' say something like 'Renovated homes on this block are selling for top dollar.'

Here's some data to illustrate the point. Out of 24,000 homes analyzed by Zillow , listings with 'fixer' in the description sold for 11.1 percent less, on average, than expected. Listings with 'potential' sold for 4.3 percent less. And listings with 'opportunity' sold for 2 percent less.

You’ll also want to avoid useless fluff like 'must-see' in your property description. If you find yourself short on space, you can cut down on mentioning the house's main stats, like square footage and number of bedrooms, since those data points are displayed in a different part of your listing, anyway.

Reframe negative features in a positive light

Of course, no home is perfect, so you don't want to completely omit less desirable features — especially if they're obvious in the photos. Instead, spin them as a positive or add in some creativity or humor. Here are a few examples:

• A small bedroom could be a home office.
• A closed-off floor plan could be described as creating separation for privacy — your dinner guests won't see your messy kitchen!
• No yard means low maintenance.
• A lack of natural light in a garden-level condo saves on cooling costs in the summertime.

Which selling points should I include in my home description?

Your property description should highlight any notable home brands, recent upgrades, and all energy efficiency additions. Don't be afraid to name drop!

• Kitchen : Appliance brands like Viking, Sub-Zero, Wolf and Bosch.
• Smart home/electronics : Bose sound system, Nest thermostat, Ring doorbell and any other smart home upgrades.
• Energy efficiency : Mention any upgrades that provide practicality, utility cost savings, and convenience, like a smart thermostat, high-efficiency washer and dryer, or solar panels.

Home description best practices

In addition to following the guidelines above, consider these best practices for writing property descriptions.

Use your word count

Take advantage of all 250 words available. Zillow Talk found that homes with longer listings consistently sell for more money. And it's not surprising. Buyers want to know the details of your home, and those extra words can give them the additional information they need to decide if your home is one they're interested in seeing in person. But, while some real estate listing sites will let you include many more than 250 words, buyers don’t want to read a novel. Focus on 250 really great words instead of rambling on just because you have the space.

Ask for a second opinion

After you're done writing, ask a friend or neighbor who knows your home and the neighborhood to review your description. Have them identify the features of your home that make it unique, and be sure to include those.

Provide accurate portrayals of renovations

New countertops do not equal a full kitchen renovation. Make sure you're being honest about the level or work that was completed.

Don't use all caps or too many exclamation points

Potential buyers don't want to feel like you're yelling at them — and all caps and endless exclamation points do just that.

Avoid jargon

Don't use real estate terminology that the average buyer won't understand.

Be careful with real estate abbreviations

You may be tempted to abbreviate in order to save space in your listing description, but be careful that you're not sacrificing clarity for space.

Don't shorten words buyers may search for

There are some words you won't want to shorten, in case people are searching specifically for that term. Examples include 'waterfront,' 'quartz,' or 'renovated.'

Don't embellish. Buyers know what they're looking for, and if you make your home seem like something it's not, you're just wasting a buyer's time.

Follow Fair Housing guidelines

It's illegal to mention race, national origin, gender, disability, or familial status in real estate listings. So, that means you can't include things like ,'This family-friendly home is perfect for new parents,' or 'Large makeup of international residents means great nearby restaurants.'

Edit your description for accuracy and grammatical errors. Buyers might assume that a careless listing description means a careless homeowner.

Create options

Consider writing 2-3 versions of your listing description that focus on features that appeal to different buyers, so you can swap out if needed.

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10 Creative Real Estate Listing Descriptions That Will Make Buyers Fall in Love

Blog/10 Creative Real Estate Listing Descriptions

When it comes to selling a home, the listing description can make all the difference. A well-crafted listing can draw in potential buyers and make them fall in love with the property before even seeing it in person.

As a real estate agent, it’s essential to create a listing that not only highlights the best features of the home but also paints a picture of the lifestyle that comes with it.

In this article, we’ll explore ten creative real estate listing descriptions that will do just that. From using sensory language to highlighting unique features, these descriptions will make potential buyers swoon and ultimately help to sell the property faster.

So, let’s dive in and discover how to craft the perfect real estate listing description that will make buyers fall in love with your property.

Table of Contents 1.   Importance of a Great Listing Description 2.  Understanding Your Target Audience 3.  Tips for Writing a Creative Listing Description 4.  Examples of Creative Real Estate Listing Descriptions 5. 8 Fixer-Upper Listing Description Examples 6. Testing and Refining Your Listing Description

Importance of a great listing description

A listing description is a key part of marketing . It’s the first impression potential buyers have of a property, and is the hook that draws them in and convinces them to schedule a viewing. A great listing description is essential for selling a home quickly and at the right price. A poorly written listing can turn off potential buyers and leave a property sitting on the market for months.

Creating an effective listing description requires a balance of creativity and practicality. It’s essential to highlight the best features of the home while also being honest about any flaws. A great listing description should be clear, concise, and attention -grabbing. It should be written with the target audience in mind, using language and tone that resonates with them.

Understanding your target audience

Understanding your target audience is crucial when crafting a listing description. Are you targeting first-time homebuyers, families, or retirees? Each group has different priorities and values when it comes to buying a home.

Knowing your audience can help you tailor your description to their needs and preferences. Highlight the features of the home that are most important to them. This will make your listing more appealing and increase the chances of attracting the right buyers.

Tips for writing a creative listing description

Crafting a creative listing description is both an art and a science. It requires a balance of practicality and creativity. Here are some tips for writing a creative listing description that will make potential buyers fall in love with your property.

1. Use storytelling in your listing description

A great listing description should tell a story about the property. Use words to paint a picture of what it’s like to live there. For example, instead of just listing the features of a backyard, describe how it’s the perfect place for summer barbecues with friends and family.

2. Highlight unique features of the property

One of the best ways to make your listing stand out is to highlight unique features of the property. This could be anything from a custom-built fireplace to a stunning view. These features can help create an emotional connection with potential buyers and make your property more memorable.

3. Incorporate emotion into the description

Buying a home is an emotional decision, and your listing description should reflect that. Use language that evokes emotion, such as “peaceful,” “luxurious,” or “charming.” This will help potential buyers envision themselves living in the home and create a stronger emotional connection.

4. Use descriptive language and vivid imagery

Descriptive language and vivid imagery can help bring your listing to life. Instead of just describing a room as “spacious,” use language that paints a more vivid picture, such as “expansive” or “airy.” Use imagery to describe how the room is decorated or how the natural light floods in.

5. Harness the power of AI for writing property descriptions

Writing listing descriptions doesn’t have to be a chore. Powerful tools like ChatGPT for Realtors can do the work of a professional copywriter in seconds. For example, with the Real Estate Listing Generator , you simply answer a few questions about the home you’re selling, and moments later get an original, high-quality and creative property description you can use anywhere.

Examples of creative real estate listing descriptions

Here are ten examples of creative real estate listing descriptions that will make buyers fall in love with your property:

1. “This charming bungalow is the perfect place to call home. With a cozy fireplace, spacious backyard, and plenty of natural light, you’ll never want to leave.”

2. “Live like royalty in this luxurious estate. With stunning views of the city, a private pool, and custom-built features throughout, this home is truly one-of-a-kind.”

3. “Calling all foodies! This gourmet kitchen is a dream come true. Featuring high-end appliances, custom cabinetry, and plenty of counter space, you’ll love cooking and entertaining in this space.”

4. “Escape to your own private oasis in this stunning waterfront property. With breathtaking views of the lake, a private dock, and plenty of outdoor space, you’ll feel like you’re on vacation every day.”

5. “This charming cottage is perfect for those seeking a simpler way of life. With a cozy fireplace, vintage details throughout, and a beautifully manicured garden, you’ll feel like you’re living in a storybook.”

6. “Step into luxury in this stunning penthouse. With soaring ceilings, custom finishes, and panoramic views of the city, you’ll feel like you’re on top of the world.”

7. “This modern farmhouse is the perfect blend of rustic and chic. With custom woodwork, high-end appliances, and plenty of natural light, you’ll love entertaining guests in this space.”

8. “Live like a celebrity in this stunning Hollywood Hills mansion. With a private pool, home theater, and custom finishes throughout, you’ll feel like you’re living in a movie set.”

9. “With space for everyone, this home has everything you need to make memories that will last a lifetime. With a spacious backyard, custom-built playroom, and top-rated schools nearby, you’ll love living here.”

10. “Experience the ultimate in luxury living in this stunning beachfront property. With panoramic views of the ocean, a private pool, and high-end finishes throughout, you’ll feel like you’re living in a five-star resort.”

8 Fixer-upper listing description examples

Conveying the potential and endless possibilities of a fixer-upper can be tricky. Here are a few examples designed to captivate investors and DIY enthusiasts alike:

1. “Attention DIY enthusiasts and investors! This charming fixer-upper is a blank canvas just waiting for your creative touch. With a little TLC, this home has the potential to become a dream haven. Take advantage of this amazing opportunity to add value and personalize this property to your liking.”

2. “Investors and handy homeowners, don’t miss out on this diamond in the rough! This spacious fixer-upper offers endless possibilities with its generous square footage and desirable location. Bring your vision and transform this property into a stunning masterpiece that will shine in the neighborhood.”

3. “Calling all renovators and bargain hunters! This fixer-upper presents a golden opportunity to build equity and create your dream home. Put your renovation skills to work and unlock the hidden potential of this property. With its prime location and solid bones, the possibilities are limitless.”

4. “Looking for a project? Look no further! This fixer-upper offers incredible potential for those with a keen eye for design and renovation. Whether you’re an experienced investor or a first-time homeowner seeking a rewarding DIY experience, this property is ready to be transformed into a true gem.”

5. “Attention builders and flippers! This fixer-upper is your chance to capitalize on a fantastic investment opportunity. With its favorable location and ample space, this property is perfect for a renovation project. Bring your team and unleash its true potential, and watch your profits soar.”

6. “Calling all HGTV enthusiasts! This fixer-upper is ready for its makeover moment. Embrace your inner designer and turn this property into a stunning showcase. From updating the kitchen to revitalizing the outdoor space, let your imagination run wild and create a home that will make a lasting impression.”

7. “Investors and DIY lovers, rejoice! This fixer-upper is your chance to make your mark and reap the rewards. With a little elbow grease, this property has the potential to shine bright. Take advantage of the affordable price and make this house a home that you’ll be proud of.”

8. “Attention renovators and visionaries! This fixer-upper is a hidden gem waiting to be polished. With its charming vintage details and original character, this property offers a unique opportunity to restore its former glory. Don’t miss your chance to create a true masterpiece that will stand the test of time.”

Testing and refining your listing description

Creating a great listing description is not a one-time task. It’s important to test and refine your description over time to ensure it’s resonating with potential buyers. Use analytics tools to track how many views and inquiries your listing receives, and adjust your description accordingly.

Ask for feedback from potential buyers and other real estate professionals to get a sense of what’s working and what’s not. Refining your description will help you attract the right buyers and sell your property faster.

Crafting a creative real estate listing description takes time and effort, but it’s well worth it. A great listing can draw in potential buyers and make them fall in love with the property before even seeing it in person. Use storytelling, highlight unique features, incorporate emotion, and use descriptive language and vivid imagery to create a listing that stands out. Test and refine your description over time to ensure it’s resonating with potential buyers. By following these tips, you’ll create a listing that makes buyers fall in love with your property.

Check out some of our additional resources:

• GrammarPros Free Content Page
• 2024 Social Media Content Calendar for Real Estate
• 41 Lead Magnet Ideas for Realtors

How to write a good house description

Writing an effective house description is essential when marketing a property for sale. a well-crafted description can capture the attention of potential buyers and help them visualize themselves living in the house. here are some tips on how to write a compelling house description:.

• Begin with an attention-grabbing headline that highlights the property's most desirable feature. For example, "Charming Victorian Home in a Picturesque Neighborhood" or "Spacious Modern Condo with Spectacular Views."
• Consider the target audience for the property. Are you marketing to families, first-time buyers, investors, or retirees? Tailor your description to their needs and preferences.
• List the property's standout features, such as the number of bedrooms and bathrooms, square footage, special amenities (e.g., swimming pool, fireplace, walk-in closet), and any recent renovations or upgrades.
• Paint a picture for potential buyers by telling a story about the property. Describe how the layout flows, how natural light fills the rooms, and how the spaces are ideal for different activities or lifestyles.
• Discuss the property's location and its proximity to important amenities, schools, parks, shopping, and public transportation. Mention any unique aspects of the neighborhood or community.
• Use vivid and appealing language to evoke emotions and create a sense of desire. For example, use words like "cozy," "spacious," "sun-drenched," "gleaming hardwood floors," "stainless steel appliances," etc.
• Highlight any recent improvements or renovations, such as a new roof, updated kitchen, or a freshly landscaped garden. These can add value to the property.
• Describe the lifestyle that the property can offer. For example, if the home has a large backyard, you might mention it's perfect for outdoor enthusiasts or those who love to entertain.
• Be transparent about any potential concerns, like an older HVAC system or the need for cosmetic updates. Honesty builds trust with buyers.
• Briefly describe each room's purpose and unique features. For example, "The spacious master bedroom features a walk-in closet and an en-suite bathroom."
• Clearly state the asking price and contact information for the listing agent or seller.
• Encourage potential buyers to take action, whether it's scheduling a viewing, attending an open house, or contacting the agent for more information.
• Ensure your description is free of spelling and grammatical errors. A well-written description reflects professionalism and attention to detail.
• If your description will be posted online, use relevant keywords to make it searchable. Think about what potential buyers might search for when looking for a property like yours.
• While providing detail is important, avoid overwhelming potential buyers with too much information. Aim for a balance between detail and brevity.

Writing a house description requires a mix of creativity, factual information, and an understanding of your target audience. Keep the description engaging and informative to attract serious buyers and generate interest in the property. 

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7 Steps to Writing Creative Real Estate Listing Descriptions

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• Published on December 20th, 2023

Dorothy O’Donnell is a writer based in San Francisco. She covers lifestyle, travel, real estate and other topics for publications such as the Los Angeles Times and 7x7.

Kelsey Morrison worked as an editor for HomeLight's Resource Centers with seven years of editorial experience in the real estate and lifestyle spaces. She previously worked as a commerce editor for World of Good Brands (eHow.com and Cuteness.com), and as an associate editor for Livabl.com. Kelsey holds a bachelor’s degree in Journalism from Concordia University in Montreal, Quebec, and lives in a small mountain town in Southern California.

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Today’s homebuyers can scroll through dozens of real estate listings on the web in a matter of minutes, which means you may only have one fleeting moment to use creative real estate listing descriptions to get them to notice yours before they’re onto the next.

Those sweeping aerial drone images of your home’s acreage and pics that show off your light-filled interior are sure to catch their eye. But it’s equally important to pair your amazing photos with a well-crafted narrative that helps buyers imagine what it would be like to live there.

The listing description is your chance to emphasize the best aspects of both your home and the surrounding area, whether you have access to quality schools or are walking distance from the historic district with boutiques and microbreweries.

Step One: Talk to an Expert Listing Agent

It takes just two minutes to match you with the top-performing listing agents in your market. Our data shows that the top 5% of agents in the U.S. sell homes quicker and for as much as 10% more than the average agent.

1. Write down your home’s best selling features

Local MLSs , or the databases where for-sale property listings are aggregated and then disseminated to major real estate websites, typically have a character limit for real estate listing descriptions. So you can’t write a novel about your home (nor will most buyers have the patience to read one).

“I will always point out those desirable things that the buyer might not know otherwise from just looking at the pictures,” says Mary Jo Santistevan , who works with 81% more single-family homes than the average agent in Phoenix and touts 17 years of experience. “The description is our chance to put in things like the hand scraped mahogany wood flooring or chiseled stone from Italy.”

Remember to highlight neighborhood features such as nearby walking trails or local attractions. A great location is especially important to share when your house is modest or needs some work, advises Mike Tchobanian , a top-performing Las Vegas agent. If your interior is fairly dated, for instance, he advises playing up that peaceful park at the end of your block instead.

You should also consider buyer preferences. According to HomeLight’s Top Agent Insights for End of Year 2023 national survey, 21% of agents say buyers are increasingly prioritizing homes with features that may lead to lower insurance rates, such as storm-resistant features and security systems, with 7% seeing “a significant shift toward such homes.”

Examples of features and amenities for your real estate listing description:

Home features and amenities.

• Chef’s kitchen
• Dedicated home office
• Hardwood floors
• Front porch or deck
• Spacious family room
• Outdoor kitchen
• Fenced-in backyard

Neighborhood features

• Excellent schools
• Close to shops and restaurants
• Walking distance to parks
• Well-maintained homes
• Safe and quiet streets
• Convenient public transportation
• Easy freeway access

2. Get inspired by other standout listings

In addition to bouncing ideas off your agent, hop online to study standout listings already published on the MLS. Tchobanian keeps a file of creative listings he turns to for inspiration when writing new descriptions.

Here’s one for an upscale property in his area:

Picture yourself living on the second fairway of a Tuscany golf course on a premium lot in a gated community. This home is truly made for both entertaining and everyday living, with plenty of space and fabulous views. Enjoy an open floor plan, high ceilings and a chef’s kitchen with stainless steel appliances, plenty of cabinets and a roomy pantry. 

The heart of this home, the kitchen — with adjoining dining and family rooms — make it ideal for gatherings. Walk outside to your backyard oasis, an east-facing paradise with stretched patio and captivating golf course and mountain views. This property is immaculate, well-cared for, and ready for new owners. Welcome home!

The first sentence of the listing invites buyers to imagine themselves living in an attractive golf community. It then reels them into the rest of the listing by capturing the property’s most appealing features through carefully selected descriptions: open floor plan, high ceilings, stainless steel appliances, chef’s kitchen, backyard oasis, stretched patio, mountain views.

Note that the copy skips dry facts like square footage and the number of bedrooms. While this information is useful, it doesn’t conjure up vivid images that bring the home to life. Plus, it’s already available in your listing’s data fields.

You want to capture someone’s attention in the first few seconds so they’ll keep reading. Mike Tchobanian Real Estate Agent Close Mike Tchobanian Real Estate Agent at Vegas Capital Realty 5.0 Years of Experience 19 Transactions 661 Average Price Point $300k Single Family Homes 481

3. Craft an attention-grabbing headline

Some real estate listings omit headlines. But going without one is a missed opportunity to get more people to click through to your ad. It’s worth taking the time to sum up one or two of your home’s most appealing characteristics in a concise, punchy title .

“You want to capture someone’s attention in the first few seconds so they’ll keep reading,” says Tchobanian.

Maybe your home is one of a handful of coveted bungalows on the market in a sought-after neighborhood. Convey that with a headline such as: “Rare Gem: Bright and Spacious Bungalow in Desirable Sycamore Park.”

4. Hook buyers with a compelling opening statement

Tantalize buyers — and leave them craving more — by spotlighting one of your home’s standout features in the first sentence of your ad. Take this opening statement for a listing describing a rustic hideaway in Marin County, California for instance:

Imagine tossing another log on the fire in your cozy redwood timber cabin, tucked away in the gorgeous hills of Mill Valley on a serene and private ¾-acre lot.

Instead of spewing facts about the property, this sentence hooks readers with specific details that tell a captivating story.

5. Include accurate but fresh adjectives

Your listing should set expectations for a buyer by creating visuals in their mind’s eye that spark emotion. Insert strategic adjectives into your description that are both picturesque and stirring, and you can influence a buyer’s first impression of your home before they ever set foot in it.

“I use adjectives like ‘modern home; swanky kitchen; clean lines; and crisp, white cabinetry,’” Santistevan says. “Words like these make buyers go, ‘Wow, this sounds great! I want to see this home.’”

Descriptive words to use in a creative real estate listing description:

• Chef-grade appliances
• Custom-built
• Move-in-ready
• Ultra-modern

Coschedule, a highly rated marketing platform, offers this comprehensive list of “power words” for crafting emotional copy.

According to a post on The ListReports® Blog, the key to making your listing stand out is crafting a description that captivates and sustains the reader’s interest. To achieve this, steer clear of these overused words:

• Natural landscaping
• Charming, wonderful

6. Arrange the selling points in a logical order

Once you’ve nailed your opening statement, continue highlighting your home’s most desirable traits — the ones you picked in your initial conversations with your agent .

To keep buyers reading, ensure your information is well-organized. If your listing is just a long string of opulent adjectives, buyers will become overwhelmed and possibly lose interest. Guide them through the copy by arranging featured items to match the order of your photos.

Order the description and photos from the front door to the backyard so buyers know what to expect when they’re walking through the house in person.

You should aim for the middle ground between showcasing and overselling your home in the description. For example, if you’ve got a flagstone patio , an in-ground pool, and a custom fire pit, you can describe your backyard as “resort-like.” But if all you’ve got is grass — say so. Just word it creatively, such as referring to it as a spacious, rolling green lawn.

7. Avoid fair housing violations

Established in 1968, the Fair Housing Act prohibits discrimination in the renting or sale of housing nationwide . This means that your listing description cannot use any language that could be interpreted as discriminatory against any of the seven protected classes : race, color, religion, national origin, gender, disability, or familial status.

“You can’t say something like ‘the perfect property for bachelors or young adults,’” notes Tchobanian.

There’s no official HUD list of banned words, but here are some examples of words or phrases that might raise red flags:

• Family-oriented
• Perfect for families
• Traditional neighborhood
• Bachelor pad
• Country club

So is there an appropriate way to mention that your neighborhood’s family-friendly, or the fact that your kids are able to walk to their top-performing public school?

There certainly is, you’ve just got to choose your words wisely.

You can play up monthly neighborhood potlucks or give the distance from your house to the nearby school.

If you’re eager to share the wonderful things about your home and neighborhood that are difficult to describe without violating the Fair Housing Act , Santistevan has a solution:

“I have my sellers draft a letter about why they love their home and why they’re so sad to leave it. Then I print it on cute paper and I’ll leave it on the counter with the house flyers. Since it’s coming directly from the seller, I get the message out to potential buyers without violating the Fair Housing Act .”

Find an Agent Who Writes Amazing Listing Descriptions

We’ll connect you with three agents who are top of their market and experienced in the word-smithing that makes homes shine online.

Grab a pen, Shakespeare. It’s time to wax poetic about your home.

Your real estate listing description can either win buyers over or cause them to discount your home amid a sea of competing online listings. With a little imagination and teamwork with your agent , you’ll hit upon the right words to showcase and sell your home. Don’t forget to proofread your masterpiece for spelling and grammatical errors before it goes live!

Header Image Source: (Panumas Yanuthai/ Shutterstock)

• "The 1,900+ Power Words You Need to Write Awesome Headlines," CoSchedule (June 2022)
• "How to Invest in Real Estate: A Complete Guide," The Motley Fool (September 2022)
• "The Fair Housing Act's Protected Classes: What Landlords Need to Know," NOLO (July 2023)

At HomeLight, our vision is a world where every real estate transaction is simple, certain, and satisfying. Therefore, we promote strict  editorial integrity in each of our posts.

Dorothy O'Donnell

Contributing Author

Kelsey Morrison

Former Editor

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Commenting on developments in the English language

Cluttered and homely (Words to describe buildings and homes, Part 2)

by  Kate Woodford

In part 1 of our ‘describing buildings’ post, we focused mainly on adjectives to describe the size of buildings. This week, we’re looking inside the building and, amongst other things, considering words that are used to describe its décor (= style of its furniture and decoration). We’re also focusing on the state of the building.

Starting with a very basic feature, a house or apartment that is furnished contains furniture. We also use this adjective in descriptions of the type of furniture in a place: I’m looking for a furnished apartment. / a tastefully furnished apartment The opposite is unfurnished : an unfurnished apartment . A self-contained apartment/flat is complete, including its own kitchen and bathroom: a self-contained, two-bedroom flat

A room that is airy has a lot of light and space, in a way that is attractive. We often use this word in the approving collocation ‘light and airy’: The waiting room is light and airy, with plants and flowers. The opposite – a room that is unattractively dark – may be described as dingy , gloomy or dimly lit . (‘Dingy’ also suggests that somewhere is dirty.): It was a dingy, poorly furnished apartment. / We entered a gloomy old dining hall. / a dimly lit corridor

If you describe a building or room as UK homely , ( US homey ) you mean that the noticeable thing about it is that it is comfortable and relaxing rather than stylish and elegant: Inside, the restaurant has a homely feel, with candles on tables and comfy chairs. Somewhere that looks lived-in , meanwhile, looks comfortable but not perfect, with furniture that has obviously been used a lot: The house has a charming, lived-in feel.

An untidy room with too many things in it is often described as cluttered : She invited me into her rather cluttered office. We use the noun clutter to refer to a lot of untidy objects: We need to clear out some of this clutter!

The adjective uncluttered describes somewhere that has few objects in it and looks tidy and attractive: Try to keep a well-organised and uncluttered workspace. Somewhere that is perfectly clean and tidy may be described as immaculate : The whole house is immaculate.

Meanwhile, a room that looks very comfortable and expensive may be described as plush or luxurious : She was taken into a large room with luxurious furnishings. / They held the meeting in the plush surroundings of a West End hotel.

Let’s move on to the state of a building. Somewhere that is shabby looks old and in poor condition: The family occupied a shabby, two-room basement apartment. A run-down building hasn’t been looked after for a long time and is in poor condition: They bought a couple of run-down cottages and fixed them up. The adjective dilapidated is very similar, meaning ‘old and in poor condition’: She’s been restoring a dilapidated farmhouse just outside Bath.

A derelict building is not now used and is in poor condition: There are several derelict houses on the street, with boarded-up windows.

That concludes our two-part post on houses and rooms. We hope you found it useful.

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10 thoughts on “ Cluttered and homely (Words to describe buildings and homes, Part 2) ”

Truly, a nice lesson with very useful words to distinguish the good or bad condition of a building, flat or apartment.

Thank you! I’m glad you found it useful.

In my personal opinion it would be nice to have some posts about techincal English words to describe buildis and their structures.

Good job 👍 we can enhance are vocabulary with the help of such blog.

Thank you! That’s great to hear.

I really enjoyed reading the paragraph but i have got the last 2 vocabularies are bit difficult

Thank you. It is so useful for us. We should have more posts like this for description of houses/flats/condos.

This lesson is so nice ! I was looking for some vocabulary to describe houses and here it is ! Thank you! This blog is so interesting 😄

Maria Grazia, what a lovely comment – thank you! Best wishes from Cambridge.

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How to Write the Perfect House Description

If you’re selling or renting out your house yourself, it can be tough trying to find the right words to describe it. You know everything about your home (after all, you do live there), but you can’t necessarily pinpoint what it is that other people will love about your house, too. Here is our definitive guide on how to write an effective description to sell your house …

1) Keep it short and sweet

People get bored quickly, and unless you’re writing a novel about your home, potential buyers are not going to want to read paragraphs upon paragraphs about why your house is the best one for them. Keep it short and sweet,  just like essays written by an  online essay writing service , and people will be more likely to read the entire description, and will often be eager to find out more and book a viewing.

2) DO NOT TYPE EVERYTHING IN CAPITALS

Capitals suggest that someone is shouting at you. I don’t like being shouted at and I’m guessing that you don’t either. Writing the opening sentence in capitals is acceptable, but not the entire description: IT LOOKS MESSY, UNPROFESSIONAL, AND IS LIKELY TO PUT PEOPLE OFF!!! Point made? Good.

3) Check and double-check your grammar and spelling

You want to give the best summary of your home, and it could get a bit embarrassing if you get things wrong. Saying that your home “has good hearing” instead of “good heating” is a bit creepy and will definitely give off the wrong impression. Not only this, but if you have no spelling mistakes or grammatical errors, you will look more professional and make more people want to deal with you.

4) Be honest

So one of your distant relatives has died and their run-down, old mansion with very dated decor has been left to you in their will. Rather than saying in the description that the house is “perfect for the modern family and ready to move in to”, say that “the house is a fantastic project with bags of potential”. People appreciate honesty and it will save you a lot of time and effort if people view your house knowing what to expect.

5) Use bullet points

This relates back to keeping your description short and sweet. Bullet points are easy to read and get straight to the point. Please pardon the pun.

6) Include room dimensions

Pictures can be deceiving and it is sometimes hard to tell how big or small a room really is. By including the room dimensions in the description, people can determine whether your home is the right size for them.

7) Make the most of your words

Just because your description should be concise, it shouldn’t mean that it should be boring. Try using as many descriptive words as you can to make your listing stand out and sound more exciting. After all, “Charming character property in an idyllic village” sounds a lot more interesting than “Two bedroom cottage for sale”.

8)  say why you love your house

When you look at a home, you want to imagine what it is like to actually live there. By telling people your experience of living in your home, will give potential buyers an idea of what it’s like to live there, too. Brought your kids up there and loved it? Tell them. The location is perfect for commuting? Tell them. Your house is haunted and ghosts play tricks on you? Maybe hire a priest and invest in incense…

9) Highlight the best features

If your house is located near a train station, had a new kitchen fitted, or is even near some of the best schools in the area, people are going to want to know. Saying that your home is west-facing and perfect for watching the sunset could be the difference between selling your home quickly or having it on the market for months on end.

Ref number: THSI-2394

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

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Thank you for your interest in the Creative Writing MFA Program at University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156

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Scriabin Association

Founded to celebrate scriabin, scriabinism and scriabinists…, the texts of scriabin’s works: some observations of a performer-researcher-teacher. by simon nicholls.

The handwriting of any individual is a kind of self-portrait, and reading a handwritten letter can give an indication of the writer’s character and state of mind, and of his or her attitude to the content of the letter. An author’s manuscript often yields valuable information about the creative process; the manuscripts of Dickens or Dostoevsky provide many examples. Examining such a document is a very different experience from reading a novel in cold print. With a musical manuscript, the spacing, the character of the pen-strokes and of the musical handwriting, as well as details of layout which cannot always be exactly reproduced by the process of engraving, give similar information, valuable to the student and to the performer. Beyond factual information, the visual impression of the manuscript, the Notenbild , can be a direct stimulus from the composer to the interpreter’s imagination. In this way, study of the composer’s manuscript can lead both to a narrowing of the possibility of textual error and to a widening of the possibilities of imaginative response to interpretation.

Examining the manuscripts of any great composer or literary author is always a thrilling experience. I have spent many hours studying Scriabin’s manuscripts in the Glinka Museum, Moscow, which holds in its vast archive many fair and rough copies of complete works as well as sketches by Scriabin. The first thing which strikes one is the extreme beauty and clarity of the scores. The slender exactitude of the writing and drawing corresponds to the delicacy and transparency of Scriabin’s own playing of his music, and makes it clear to the interpreter that a similar clarity, precision and grace is demanded in his or her own performance – something extremely difficult to achieve. The care with which the manuscripts were prepared confirms the testimony of Scriabin’s friend and biographer, Leonid Sabaneyev, who was bemused by the care taken by the composer in the placing of slurs, the choice of sharps or flats in accidentals (contributing in many cases to an analysis of the harmony concerned), the spacing of the lines of the musical texture over the staves and the upward or downward direction of note stems.

It was Heinrich Schenker who pointed out the expressive and structural significance  of the manuscript notation of Beethoven, and who was instrumental in establishing an archive in the Austrian National Library, Vienna, of photographic reproductions of musical manuscripts. His pioneering work has led gradually to the present wealth of Urtext editions and facsimiles of many composers’ manuscripts. Reproductions of Skryabin’s manuscripts have been published by Muzyka (Moscow), Henle (Munich) and the Juilliard School (New York; their manuscript collection is available online). [1]  These reproductions cover several significant compositions by Scriabin: Sonata no. 5, op. 53; Two pieces, op. 59; Poème-nocturne, op. 61; Sonata no. 6, op. 62; Two poèmes, op. 63; Sonata no. 7, op. 64. The remarks below have no pretensions to system or completeness; they are merely observations based on initial study, and intended as a stimulus to others to examine the manuscripts for themselves.

In maturity, Scriabin took immense care with his manuscripts. Speaking to Sabaneyev, he compared the difficulty of writing down a conception in sound to the process of rendering a three-dimensional object on a flat surface. As a student and as a young composer, though, Scriabin was by no means ideally accurate or painstaking in his notation. This was the cause of Rimsky-Korsakov’s irritated response to the manuscript score of Scriabin’s Piano Concerto – the elder composer initially considered it to be too full of mistakes to be worthy of serious attention. Mitrofan Belaieff, Scriabin’s publisher, patron and mentor, frequently begged the composer to be more careful in correcting proofs. The original editions, particularly of the early works, contain many errors which originate in some cases from Scriabin’s manuscript and in others from poor proofreading – as far as we can tell; some early manuscripts are now lost.

We are indebted to the fine musician Nikolai Zhilyayev for correct editions of Scriabin’s music. Zhilyayev knew Scriabin well and discussed many misprints with the composer; others he detected by his own scrupulous and scholarly work and prodigious memory. As Scriabin’s harmony and voice-leading were impeccably systematic and logical at all stages of his development, those who have had to do with the old editions will know that is often possible to correct mistakes by analogy or knowledge of harmonic style.

 Zhilyayev was the revising editor for a new edition of Scriabin’s music, published by the Soviet organisation Gosudarstvennoe izdatel’stvo muzykal’nyi sektor (State publisher, musical division – ‘Muzsektor’) from the 1920s on, each work or opus number being issued separately. These beautifully prepared editions are painstakingly annotated, corrections being indicated in two layers: those discussed with the composer and therefore beyond doubt, and those which Zhilyayev considered likely (and he was usually right). This work was the basis of the complete edition of the piano music published by Gosudarstvennoe muszykal’noe izdatel’stvo (State musical publishing house – ‘Muzgiz’) in three volumes (1947, 1948 and 1953). [2] Zhilyayev fell victim to Stalin’s terror; he was arrested in 1937 and shot in the following year. His name does not appear on this three-volume edition.

A new complete edition is appearing gradually under the imprint Muzyka–P. Jurgenson. The general editor is Valentina Rubtsova, biographer of Scriabin and head of research at the Scriabin Museum, Moscow, assisted by Pavel Shatsky. As in Rubtsova’s editions for Henle, full credit is given to Zhilyayev, and the annotations as to origins and variants are very thorough in this valuable new edition.

A  very  limited  number  of  Scriabin’s  manuscripts has been  available  in  facsimile until now. The collection of ‘Youthful and Early Works’ prepared by Donald Garvelmann and published in New York in 1970 by Music Treasure Publications [3] contains a facsimile of the early E flat minor sonata (without opus number) of 1889, a typical youthful manuscript of the composer, rather heavy in its style of penmanship. The manuscript of the op. 11 preludes (excerpts are shown in ill.1), though tidier, shows a similar style.

ill. 1) Extract of  Op. 11 Preludes manuscript

The Russian website ‘Virtual’nye vystavki’ (‘Virtual exhibitions’) [4] gives in facsimile the first page of the Etude op. 8 no. 12, with more fingering than is shown in the Belaieff edition, and also the first page of the manuscript score of the Poem of Ecstasy , providing a striking example of the change in the composer’s manuscript style. A facsimile on the site of the first two pages of the score of the Piano Concerto shows some of the copious blue-pencilling of Rimsky-Korsakov from the occasion mentioned earlier, and the site also reproduces Skryabin’s letter of apology to Rimsky-Korsakov apologising for the errors and blaming neuralgia. [5] Comparison of this letter with the one to the musicologist N. F. Findeizen dated 26 December 1907, also viewable on the site, gives another clear example of the change in Scriabin’s handwriting. [6]

Op. 53: Sonata no. 5

A facsimile of the Fifth Sonata has been published by Muzyka. [7] The manuscript of this work was presented to the Skryabin Museum, Moscow, by the widow of the pianist and composer Alfred Laliberté, to whom Scriabin had given the manuscript. This is a very different document from the early E flat minor sonata manuscript, and shows Scriabin’s fastidious and calligraphically exquisite mature hand. By this time both Scriabin’s music manuscript and his handwriting had developed an elongated ‘upward-striving’ manner. We might make a comparison with the remark of Boris Pasternak that the composer ‘had trained himself various kinds of sublime lightness and unburdened movement resembling flight’ [8] – the handwriting is expressive of this quality. Examples of Scriabin’s handwriting in letters to Belaieff in 1897 (ill. 2) and to the composer and conductor Felix Blumenfeld in 1906 (ill. 3) show the dramatic difference in handwriting style that developed.

ill. 2) Scriabin’s handwriting 1897

ill. 3) Scriabin’s handwriting 1906

The manuscript of the Fifth Sonata shows that, although Scriabin spoke French, he did not immediately provide a French text for the epigraph, which is from the verse Poem of Ecstasy . This poem was written in Russian at the same period that the symphonic poem was composed. There is a request on the manuscript to the engraver to leave space for a French version. The French text, which is the usual source of English translations, does not reflect the Russian with complete accuracy: the forces mystérieuses , ‘mysterious forces’, which are being called into life are skrytye stremlen’ya , ‘hidden strivings’, in the original. [9] In other words, it is open to doubt that any sort of ‘magical ritual’, in a superstitious sense, is being depicted in this work, a suggestion made (perhaps in a figurative sense) by the early writer on Scriabin Evgenii Gunst and elaborated upon by the composer’s British-American biographer, Alfred Swan. The epigraph may be regarded as an invocation of Scriabin’s own inner aspirations, the creative power which the composer equated with the divine principle.

Work on the Fifth Sonata started in 1907, at a period when a rift had developed between Scriabin and the publishing house of Belaieff. The committee running the publishers after the death of Belaieff had proposed a renegotiation of fees. It is possible that Scriabin was unaware of the preferential and generous treatment Belaieff had accorded him; certainly, he was offended by the proposals and withdrew from his agreement with the publishers. The Sonata was published at Scriabin’s own expense, but was taken into the publishing concern run by the conductor Serge Koussevitsky, Rossiiskoe muzykal’noe izdatel’stvo (RMI). Later still, Scriabin quarrelled with Koussevitsky too, and the composer’s last works were published by the firm which had brought out his very first published compositions, Jurgenson.

The main differences between the manuscript of the Fifth Sonata and most modern printed texts are:

1) a missing set of ties at the barline between  bars 98 and 99. These ties are also missing in RMI, and in the edition printed at Scriabin’s own expense. [10] Muzgiz adds the ties in dotted lines, by analogy with the parallel passage at bars 359–360. The commentary to the Muzgiz edition states that sketches of the work make use of an abbreviated notation at this point which could have led to this misunderstanding, as the editors describe it.  Christoph Flamm’s notes to the Bärenreiter edition are definite as to Scriabin’s intention not to tie over this barline, citing the repetition of accidentals in bar 99 as being conclusive proof. [11]

2) the movement of the middle voice in bars 122–123, 126–127, 136–137, 383–384, 387–388, 397–398  ( Meno vivo sections): the manuscript gives a downward resolution in the middle voice (d flat – c in the first passage and g flat – f in the second) whereas the printed editions give an upward resolution (d flat – d natural and g flat – g). It is as if only at a second attempt (as revised for the printed version) has Scriabin fully realised the implications of his own (then very new) harmony: the resolutions as printed resolve into the augmented harmony around them, whereas the resolutions in the earlier version do not. Knowing about this early version, moreover, adds point to the grandiose version of the same section at bars 315–316, 319–20 and 323–324, where the downward resolution is retained. One might think of the meno vivo sections as being potential states, and the grandiose version as representing a fully realised condition.

It should be remembered that the Sonata was composed at breakneck speed, completed in a few days, and revised afterwards; Valentina Rubtsova, editor of the facsimile, suggests that the manuscript provides a glimpse into the composer’s creative laboratory. She further points out that Scriabin uses double barlines to indicate structural divisions, whereas publishers’ house style often requires a double bar at any change of key-signature or time-signature. This has resulted in the insertion of a number of non-authentic double bars in some published versions of the Fifth Sonata. Double bars occur in the manuscript in the following places only:

            before bar 47 (beginning of main sonata exposition)

            before bar 120 ( Meno vivo , the second subject area)

            before bar 367 (indicating, perhaps a slight hesitation before this rising sequence)

            before bar 381 (parallel passage to bar 120).

The visual effect of the manuscript is therefore more continuous than that of the printed edition. It should be mentioned that the Urtext printed version given in the volume containing the manuscript is a corrected version of the RMI edition. This edition was prepared with the composer’s agreement and during his lifetime. The manuscript, though, is an invaluable source for the reasons given above.

A similar use of double barlines to that in the Sonata no. 5 is made elsewhere by Scriabin, including in the Sonata no. 6 (see below) and the Sonata no. 8. It can be said, from these examinations, that Scriabin uses double barlines structurally or even expressively, and that they often should be made audible in some way, in sharp contradistinction to the purely ‘grammatical’ double bars referred to above. The definition of ‘sometimes’ and ‘often’ is a non-scientific one and comes down to the player’s own interpretive insight, but where there is a double barline and no change of time- or key-signature, the double bar clearly has  structural significance.

The addition of a double bar by a publisher can confuse the interpreter. For example, Bach’s engraved edition of his own Second Partita has no double bar, in fact no barline at all, at the beginning of the third section of the Sinfonia (ill. 4.) The insertion of a double bar at this point, even in some ‘Urtext’ editions (because of the change of time-signature) leads many performers to treat the final chord of the middle section like a ‘starter’s pistol’ for the quicker final section, which, as consideration of the musical content will quickly demonstrate, starts on the second quaver of the bar with the fugue subject.

ill. 4) Manuscript of Sinfonia from Bach’s Keyboard Partita no. 2

The notes by Valentina Rubtsova to the facsimile of the Fifth Sonata mention Scriabin’s differing use of rallentando in its full version and of the abbreviation rall. , and the possible implications of such usage for performance:

[…] in b. 382 Scriabin indicated molto rallentando , while in b. 386 and 390 he confined himself to [a] shortened and somewhat careless rall.  It seems that the theme sounded to him just like that: with a more substantial broadening in b.382 and in a somewhat generalized manner in b. 386 and 390. [12]

A related expressive function of details in the writing of performance directions will be noted below in the case of the Poème-Nocturne , op. 61.

Now we move to a group of Scriabin’s manuscripts, recently published on line by the Juilliard School of New York. The works with opus numbers 52, 53 and 58 to 64 were published by Koussevitsky’s firm, RMI, mentioned above. (The Poem of Ecstasy , op. 54, was already contracted to Belaieff, as were opp. 56 and 57; there is no work with the number 55.) Opp. 59 and 61 to 64 (op. 60 is an orchestral score, Prometheus ) were bound together in one volume at some time. Koussevitsky’s archive went with him when he left Russia in 1920. The majority of the archive is now in the Library of Congress, but this volume somehow came onto the open market, and was sold at Sotheby’s in 2000. The purchaser, Bruce Kovner, businessman, collector and philanthropist, generously donated his entire collection to Juilliard School in 2006, and Juilliard have made the contents of the volume he purchased available in excellent facsimile online [13] – a huge step forward in making Scriabin manuscript facsimiles available to the musical public. The Sonata No. 7 has also been published in an equally excellent facsimile by Henle with informative notes by Valentina Rubtsovsa. [14] Some observations on these manuscripts follow.

Op. 59 no. 1, Poème

b. 15: an accidental is missing before the r. h. d sharp, third quaver of the bar. This mistake, as well as the missing accidental in b. 13, was reproduced in the first edition, but corrected by Zhilyayev.

b.19: the fifth quaver in  r. h. is spelled in the manuscript as b double flat, harder to read than the a natural printed in most editions, but consistent with the d flat bass of this bar and typical of Scriabin’s fastidiousness in his choice of accidentals. The spelling was reproduced in the first edition, but altered without comment by Zhilyayev, who did not have the manuscript available. (This manuscript was also not available to the editors at the time of preparation of the Muzyka-Jurgenson edition.) Subsequent editions, including Muzyka-Jurgenson, followed Zhilyayev’s reading. The ‘spelling’ of a note may well have an effect on the player of a wind or string instrument as regards actual pitch, and Sabaneyev discussed this with Scriabin. But a good pianist will often respond by minute adjustments of touch to the difference of inner hearing caused by enharmonic differences of spelling. [15]

b. 23–25: there is evidence in these bars of erased octave doublings in the right hand phrases, though the lower octave to the initial a, r.h. second quaver of bar 23, has not been erased – a mistake rightly queried by the editor. Here, the texture is delicate and transparent, but it will be remembered that Scriabin often preferred single notes to octaves in passages of powerful sonority where an effect of brightness was desirable (e.g. final climaxes of the Fifth Sonata and Vers la Flamme ). Sabaneyev criticised the composer for scoring his orchestral music with doublings at the unison rather than the octave, but this seems to have been Scriabin’s preference in many places.

b. 28 and 30: The three r.h. quavers which continue the middle voice at the end of these bars were first written by Scriabin in the upper staff, but then erased and put into the lower staff, clarifying the voice-leading. This is an example of the care taken by the composer in the optical presentation of his voices.

b. 34: the manuscript and the first edition have d natural in r.h. upper voice, second, fourth and sixth quavers. This error was corrected by Zhilyayev, who changed these notes to d sharps, noting the analogy in bar 6.

b. 36: the tie between third and fourth quavers of the bar in r.h. is missing in the manuscript, but was supplied in the first edition – possibly a correction in proof by the composer.

b. 38: the acciaccatura at the beginning of the bar for both hands was written by Scriabin with a quaver tail without the customary cross-stroke. This seems to have been the composer’s usual habit – compare the beginning of the Sixth Sonata, written in the same way, as well as other instances – and, in the case of the present Poème, the notation was altered in the first edition. The RMI edition of the Sonata, however, shows the acciaccatura with a quaver-type tail, though many later editions add a cross-stroke. It may be felt that in both cases Scriabin’s notation may suggest a more deliberate execution of the acciaccaturas.

b.39: note the beautiful and unusual notation of the final sonority, a single stem uniting sounds many octaves apart and played by two hands. It is suggestive of the deep and strange sonority of this ending. It is given by most editions, but not by Peters, who ‘normalise’ the notation here. [16]

  Op. 59 no. 2, Prelude

A number of errors in the manuscript were correctly questioned by the editor, and further inconsistencies were corrected by Zhilyayev.

The rhythm at the beginning of bar 40, though, (marked avec defi – Scriabin omitted the acute accent on the second letter of défi ) written as three even quavers, was retained in the first edition and subsequent ones despite having been questioned by the editor. Muzgiz, following Zhilyayev, queries whether it should be made consistent with the dotted rhythm of other similar bars. The Peters edition by Günter Philipp adopts this suggestion. [17] The present writer is of the opinion that the three even quavers help to express Scriabin’s suggested ‘defiance’.

Intriguingly, a slip of paper was pasted over the original manuscript at bars 26–28. This is at the position, characteristic of Scriabin’s short pieces, where the opening material begins to be repeated in transposition. The repeated chords on the paper slip, which anticipate the coda from bar 54 to 57, may have been a late compositional addition by Scriabin. (Other paper slips are observable, pasted into the manuscript of the Sonata no. 6.)

Op. 61, Poème-Nocturne  

(The manuscript of this work was also not available to the editors of Muzyka-Jurgenson, who were, however, able to consult a rough draft, as in the case of op. 59.)

Space will not permit a detailed analysis of longer works such as this, but some interesting features present themselves. The first page of the manuscript is written in two inks, blue and black. On the first system, the clefs and the r.h. phrase from the downbeat of bar one are written in blue, whereas the upbeat is written in black. A list of incipits for projected works by Scriabin exists in the Glinka Museum archives, and has been examined by the present writer. This list corresponds to a description by Sabaneyev of a collection of thematic material ‘for sonatas’. In the list, the Poème-Nocturne theme lacks its upbeat. Perhaps the addition of the upbeat was a late inspiration, like Beethoven’s last-minute addition of a two-note upbeat to the slow movement of the Hammerklavier sonata. At the recapitulation, b. 109, the theme starts on the downbeat.

In bar 3 and the corresponding passage, bar 110, Scriabin writes the   molto più vivo directly over the l. h. figure on the second beat. This is placed too late in Muzgiz, but correctly in Muzyka-Jurgenson.

Scriabin’s usual practice is to write his performance directions or remarki in lower-case letters, but in the Poème-Nocturne and some other works this practice is departed from in certain places. The new ideas at bar 29 and 33 are marked in the manuscript Avec langueur and Comme en un rêve – suggesting, perhaps, that the arrival of these new ideas should be ‘shown’ by the player in some way, possibly by a very slight elongation of the rests before them, as with the start of a new sentence or paragraph in a text which is read aloud. The same thing happens at Avec une soudaine langueur  ( sic ) in bar 52, and Avec une passion naissante and De plus en plus passionné in bars 77 and 79. The first edition reproduces this peculiarity, but not Muzgiz or Muzyka-Jurgenson. It has not been possible to determine whether they are following Zhilyayev, as seems likely. [18]

The addition in printed editions, including the first, of a poco acceler. [ sic in RMI] over the barline of bb. 46-47 is clear evidence of intervention by the composer at proof stage.

The long slur at comme un murmure confus (bar 103 to 110) is correctly reproduced in the editions known to this writer, but seeing it drawn so clearly and with such certainty in the manuscript is a reminder not to yield to the temptation to ‘explain’ the structure of this mysterious passage, and especially not to render the arrival of the recapitulation in bar 109 with any excessive degree of clarity. The piece reflects Scriabin’s exploration of states of consciousness on the borders of sleep, as he explained to Sabaneyev. On the other hand, the remarka at the point of arrival of the recapitulation ( Avec une grace [sic] capricieuse [19] ) does have the capital letter we have come to expect in this work when important thematic ideas are presented.

Op. 62: Sonata no. 6

This work is so successfully suggestive of dark areas of the spirit that a listener once suggested to the present writer, after a performance of the Sixth Sonata, that the music was evidence of psychosis in the composer’s own mind. The listener was, of course, making an error like that of Don Quixote at the puppet show – mistaking dramatic presentation for reality. The lucidity of the manuscript, as well as the highly organised and disciplined musical structure, show that Scriabin knew very well what he was doing.

Towards the end of the work there is a notorious high d written, which exceeds the range of the keyboard (bar 365). This note has also been quoted to me by music-lovers as evidence of Scriabin’s supposed delusional condition. Firstly, it should be pointed out that the d is dictated by analogy with bar 330. We can make a comparison with Ravel in this case. In the climax of Ravel’s Jeux d’eau there is a bottom note which, harmony dictates, should be G sharp, but as the note does not exist on most keyboards, Ravel wrote A. [20] Similarly, Ravel ‘faked’ octaves at the bottom of the piano in the recapitulation of Scarbo by writing sevenths. Scriabin, ever an idealist, preferred to write the pitch required by the music and to leave the solution to the interpreter. [21] Furthermore, the whole phrase from bar 365 to 367 is written an octave lower in the manuscript than in the first edition, thus bringing the d within the keyboard range. [22] An explanation for the late change between manuscript and first edition, which transposes the phrase up an octave, may be that Scriabin never performed this very difficult work – the premiere was entrusted to Elena Beckman-Shcherbina. Perhaps, in working on the piece with her and hearing the passage played up to tempo, Scriabin suggested that she try the phrase an octave higher, as the analogy with bar 330 demands, and realised that the chord flashes by with the substitution of c for d as the top note practically unheard. In her memoirs, Bekman-Shcherbina describes Scriabin’s detailed work with her on his compositions, but, alas, gives no details of the work which must have taken place on the Sixth Sonata.

The composer’s notation of the acciaccatura which starts the Sixth Sonata has already been mentioned (see above, Poème op 59 no. 1.) As in the case of the acciaccatura which sets off the Sonata in A minor by Mozart (K.310), this opening should not be played too glibly, but with a certain weight. Indeed, for a player whose hand cannot stretch the initial chords, it is a help to know that this arresting opening should not be hurried over. More importantly, an execution on the slow side helps to emphasise the sombre, unyielding severity of the opening sonority. It is perhaps unfortunate that publishers’ ‘house styles’ lead to a routine ‘correction’ of Scriabin’s notation of the acciaccatura.

‘House style’ has also led to the omission in some editions of the Sixth Sonata of a number of ‘structural’ double bars provided in the manuscript by Scriabin. Scriabin wrote double bars  before b. 92 (coda of exposition), 124 (beginning of development),  206 (recapitulation), 268 (end of recapitulation of second subject. As this last-mentioned place involves a change of time signature, the double bar is technically required, and is reproduced in printed editions, but there is a definite break in the atmosphere here.) The calligraphic beauty and clarity of b. 244–267, a notoriously complex passage, repays study.

Op. 64: Sonata no. 7

The manuscript of Sonata no. 7 is commented upon in detail by Valentina Rubtsova in her notes to the facsimile published by Henle, and these notes are published online. [23] They repay careful study, and Rubtsova gives an account of the other manuscript versions of the Sonata, one of which the present writer has examined in the Glinka Museum. The existence of this text, with its many alterations and differences from the finished version, calls into question the accusation, made by Sabaneyev and since repeated, that Scriabin established a ‘scheme’ of empty numbered bars and proceeded to ‘fill’ it with music. While numbers were clearly important to the composer in establishing a ‘crystalline’ form, the procedure of composition was far more complex than that, as the painstaking work shown in these manuscripts reveals.

Ill.5 is a reproduction of the first page of Scriabin’s earlier draft, with the remarka ‘Prophétique’ for the opening ‘fanfare’ motive. This marking, later rejected, gives a sense of the gesture of this musical idea, which is essential to the close connection of the Sonata with Scriabin’s idea of the ‘Mystery’, something he discussed with Sabaneyev. While visiting an exhibition in London’s Tate Gallery of paintings by the English artist George Frederic Watts (1817–1904), the present writer was struck by the convulsive, ‘prophetic’ gesture depicted in Watts’ ‘Jonah’ (1894), a painting which is reproduced online. [24] The performance of these opening bars needs to be as striking and dramatic as Watts’ painting.

ill. 5) 1st page from manuscript of Sonata 7

Op. 63, 2 Poèmes

In the second of these short works, some l. h. notes in the chords in b. 6 and 7 have been erased; these notes are relocated to the upper stave, where they belong musically, and marked m.g. (The m.d. in bar 7 is a characteristic slip, rightly questioned by the editor). The top note of these chords is shown in the manuscript as f natural and was so published in the RMI edition. Zhilyayev, who had discussed this passage with the composer, corrected this to f sharp. [25] The first notation shows how essential the gesture of hand-crossing was to Scriabin’s conception of the sonority here. Some pianists make the simultaneity of sounding of notes into a priority, but a letter by Scriabin to Belaieff which has been dated to December 1894 shows that spreading of chords was essential to his conception at times (such spreading was, in any case, far more prevalent at that period than now). In this letter, Scriabin writes that the ‘wide chords’ in bb. 9-10 of the Impromptu op. 10 no. 2 ‘must be played by the left hand alone, for the character of their sonority in performance depends on this.’ [26]

The Scriabin facsimiles which have been made available in Russia and America are invaluable sources of information and inspiration, and studying them brings us just a little nearer to the composer. It is hoped that the notes above will encourage players and music lovers to investigate them, and also that more facsimiles may follow in the future.

Simon Nicholls, 2016.

[1] http://juilliardmanuscriptcollection.org/composers/scriabin-aleksandr/

[2] This edition was the basis of those of the sonatas, preludes and etudes reprinted by Dover, though some of the editions chosen for reprinting contained errors not present in the complete edition. Dover did not reproduce the essential information that nuances and rubatos given in brackets in these editions, notably in the op. 8 etudes, were from instructions given by Skryabin to Mariya Nemenova-Lunts while she was studying with the composer.

[3] This edition was republished in limited numbers by the Scriabin Society of the U.S.A.

[4] http://expositions.nlr.ru/ex_manus/skriabin/index.php

[5] The letter is dated ‘19 th April’ by Scriabin and dated to 1896 on the website. The edition by Kashperov of Scriabin’s letters (A. Scriabin, Pis’ma , Muzyka, Moscow, 1965/2003, attributes it to 1897 (p. 168–169, letter 144.)

[6] This letter is given by Kashperov ( op.cit. ) on p. 492–3, letter no. 545.

[7] Scriabin: Sonata no. 5, op. 53. Urtext and facsimile. Muzyka, Moscow, 2008.

[8] Boris Pasternak, An Essay in Autobiography , trans. Manya Harari,  Collins and Harvill, London, 1959, p. 44.

[9] I am grateful to the distinguished scholar of Russian literature Avril Pyman for pointing this out (private communication). The French text was added by hand by the composer to the proofs of the first edition (information from the notes by Christoph Flamm to Skrjabin: Sämtliche Klaviersonaten II, Bärenreiter, 2009, p. 43), but perhaps we should trust Scriabin’s Russian, his native tongue, rather than his French in this case.

[10] Ibid. ,  p. 44.

[11] Muzgiz, vol. 3, commentary, p.  295. Christoph Flamm, loc. cit. The printed version supplied in the Muzyka edition of the facsimile adds the ties in dotted lines, following Muzgiz. It is certainly tempting to make the ‘correction’: most pianists play the tied version, which persists in many editions. But such bringing into line of parallel passages should not be done automatically.

[12] Valentina Rubtsova, notes to facsimile of Scriabin Sonata no. 5, p.57.

[13] Cf. n. 1, above.

[14] Alexander Skrjabin: Klaviersonate Nr. 7 op. 64. Faksimile nach dem Autograph. G. Henle Verlag, Munich, 2015. The foreword is also available online: http://www.henle.de/media/foreword/3228.pdf

[15] Cf. Paul Badura-Skoda, Interpreting Mozart on the Keyboard , trans. Leo Black, Barrie & Rockliff, London, 1962, p. 290 for a brief discussion of one example of this problem. Brahms wrote against any attempt to improve on Chopin’s orthography at the time of the preparation of a new complete edition of the Chopin piano works (letter to Ernst Rudorff, late October or early November 1877, quoted in Franz Zagiba, Chopin und Wien , Bauer, Vienna, 1951, p.130.) All this comment is made about a single accidental because the orthography of Scriabin’s late music is such a wide-reaching, fascinating and important topic, perhaps seen by some students of the music only as an irritating difficulty of reading, and this is one small example of it. For a discussion of Scriabin’s orthography and its significance see George Perle, ‘Scriabin’s Self-Analyses’, Music Analysis, Vol. 3 no. 2 (1984), p. 101–122.

[16] Skrjabin, Klavierwerke  III , ed. Günter Philipp, Peters, Leipzig 1967.

[17] Ibid . Philipp notes the variant in an editor’s report, p. 98.

[18] Christoph Flamm discusses Scriabin’s remarki , and comments that the composer accepted with indifference the publishers’ treatment of his upper or lower-case letters ( op. cit. , p. 42). Nonetheless, these small ms. differences can be infinitely valuable suggestions to the performer. Flamm points out that even the size of the letters in which a remarka is written can be of significance for the performer.

[19] Scriabin spoke good French, but accents sometimes go missing in his writing. This circumstance could perhaps be compared with his tendency to miss out accidentals.

[20] The present writer has read a gramophone record review in which this famous bass note was described as a ‘wrong note.’

[21] The Austrian piano firm Bösendorfer added a few bass notes to the range of its largest instruments. Apart from making Ravel’s bass notes possible to ‘correct’, the bass strings add to the resonance of the piano. No such advantage attaches to an addition to the top of the keyboard.

[22] Noted by Darren Leaper.

[23] Cf. n. 15, above.

[24] http://www.tate.org.uk/art/artworks/watts-jonah-n01636

[25] Muzgiz, vol. 3, commentary, p. 296.

[26] Kashperov, op. cit. , p. 87.