creative writing describe sadness

Describing Sadness in Creative Writing: 33 Ways to Capture the Blues

By: Author Paul Jenkins

Posted on August 25, 2023

Categories Creative Writing , Writing

Describing sadness in creative writing can be a challenging task for any writer.

Sadness is an emotion that can be felt in different ways, and it’s important to be able to convey it in a way that is authentic and relatable to readers. Whether you’re writing a novel, short story, or even a poem, the ability to describe sadness can make or break a story.

Understanding sadness in writing is essential to creating a believable character or scene. Sadness is a complex emotion that can be caused by a variety of factors, such as loss, disappointment, or loneliness. It’s important to consider the context in which the sadness is occurring, as this can influence the way it is expressed.

By exploring the emotional spectrum of characters and the physical manifestations of sadness, writers can create a more authentic portrayal of the emotion.

In this article, we will explore the different ways to describe sadness in creative writing. We will discuss the emotional spectrum of characters, the physical manifestations of sadness, and the language and dialogue used to express it. We’ll also look at expert views on emotion and provide unique examples of describing sadness.

By the end of this article, you’ll have a better understanding of how to authentically convey sadness in your writing.

Key Takeaways

• Understanding the emotional spectrum of characters is essential to creating a believable portrayal of sadness.
• Physical manifestations of sadness can be used to convey the emotion in a more authentic way.
• Authenticity in describing sadness can be achieved through language and dialogue, as well as expert views on emotion.

33 Ways to Express Sadness in Creative Writing

Let’s start with some concrete examples of sadness metaphors and similes:

Here are 33 ways to express sadness in creative writing:

• A heavy sigh escaped her lips as a tear rolled down her cheek.
• His eyes glistened with unleashed tears that he quickly blinked away.
• Her heart felt like it was being squeezed by a cold, metal fist.
• A profound emptiness opened up inside him, threatening to swallow him whole.
• An avalanche of sorrow crashed over her without warning.
• His spirit sank like a stone in water.
• A dark cloud of grief descended on her.
• Waves of sadness washed over him, pulling him under.
• She felt like she was drowning in an ocean of melancholy.
• His eyes darkened with sadness like a gathering storm.
• Grief enveloped her like a wet blanket, heavy and smothering.
• The light in his eyes dimmed to a flicker behind tears.
• Sadness seeped through her veins like icy slush.
• The corners of his mouth drooped like a wilting flower.
• Her breath came in short, ragged gasps between sobs.
• A profound melancholy oozed from his pores.
• The weight of despair crushed her like a vice.
• A haunted, hollow look glazed over his eyes.
• An invisible hand squeezed her heart, wringing out all joy.
• His soul curdled like spoiled milk.
• A silent scream lodged in her throat.
• He was consumed by a fathomless gloom.
• Sorrow pulsed through her veins with every beat of her heart.
• Grief blanketed him like new-fallen snow, numbing and icy.
• Tears stung her eyes like shards of glass.
• A cold, dark abyss of sadness swallowed him.
• Melancholy seeped from her like rain from a leaky roof.
• His spirit shriveled and sank like a deflating balloon.
• A sick, hollow ache blossomed inside her.
• Rivulets of anguish trickled down his cheeks.
• Sadness smothered her like a poisonous fog.
• Gloom settled on his shoulders like a black shroud.
• Her sorrow poured out in a river of tears.

Understanding Sadness in Writing

Describing sadness in writing can be a challenging task.

Sadness is a complex emotion that can manifest in different ways. It can be expressed through tears, sighs, silence, or even a simple change in posture. As a writer, you need to be able to convey sadness effectively to your readers, while also avoiding cliches and melodrama.

One way to approach describing sadness is to focus on the physical sensations and reactions that accompany it. For example, you might describe the feeling of a lump in your throat, or the tightness in your chest. You could also describe the way your eyes become watery, or the way your hands tremble.

These physical descriptions can help your readers to empathize with your characters and feel the same emotions.

Another important aspect of describing sadness is the tone of your writing. You want to strike a balance between conveying the depth of the emotion and avoiding excessive sentimentality.

One way to achieve this is to use simple, direct language that conveys the emotion without resorting to flowery language or overwrought metaphors.

When describing sadness, it’s also important to consider the context in which it occurs. Sadness can be a response to many different situations, such as loss, disappointment, or rejection. It can also be accompanied by other emotions, such as anger, confusion, or melancholy.

By considering the context and accompanying emotions, you can create a more nuanced and realistic portrayal of sadness in your writing.

Finally, it can be helpful to draw on examples of how other writers have successfully described sadness. By studying the techniques and descriptions used by other writers, you can gain a better understanding of how to effectively convey sadness in your own writing.

In conclusion, describing sadness in writing requires a careful balance of physical descriptions, tone, context, and examples. By focusing on these elements, you can create a more nuanced and effective portrayal of this complex emotion.

Emotional Spectrum in Characters

In creative writing, it’s important to create characters that are multi-dimensional and have a wide range of emotions. When it comes to describing sadness, it’s essential to understand the emotional spectrum of characters and how they respond to different situations.

Characters can experience a variety of emotions, including love, happiness, surprise, anger, fear, nervousness, and more.

Each character has a unique personality that influences their emotional responses. For example, a protagonist might respond to sadness with a broken heart, dismay, or feeling desolate.

On the other hand, a character might respond with anger, contempt, or apathy.

When describing sadness, it’s important to consider the emotional response of the character. For example, a haunted character might respond to sadness with exhaustion or a sense of being drained. A crestfallen character might respond with a sense of defeat or disappointment.

It’s also important to consider how sadness affects the character’s personality. Some characters might become withdrawn or depressed, while others might become more emotional or volatile. When describing sadness, it’s important to show how it affects the character’s behavior and interactions with others.

Overall, the emotional spectrum of characters is an important aspect of creative writing. By understanding how characters respond to different emotions, you can create more realistic and relatable characters. When describing sadness, it’s important to consider the character’s emotional response, personality, and behavior.

Physical Manifestations of Sadness

When you’re feeling sad, it’s not just an emotion that you experience mentally. It can also manifest physically. Here are some physical manifestations of sadness that you can use in your creative writing to make your characters more believable.

Tears are one of the most common physical manifestations of sadness. When you’re feeling sad, your eyes may start to water, and tears may fall down your cheeks. Tears can be used to show that a character is feeling overwhelmed with emotion.

Crying is another physical manifestation of sadness. When you’re feeling sad, you may cry. Crying can be used to show that a character is feeling deeply hurt or upset.

Numbness is a physical sensation that can accompany sadness. When you’re feeling sad, you may feel emotionally numb. This can be used to show that a character is feeling disconnected from their emotions.

Facial Expressions

Facial expressions can also be used to show sadness. When you’re feeling sad, your face may droop, and your eyes may look downcast. This can be used to show that a character is feeling down or depressed.

Gestures can also be used to show sadness. When you’re feeling sad, you may slump your shoulders or hang your head. This can be used to show that a character is feeling defeated or hopeless.

Body Language

Body language can also be used to show sadness. When you’re feeling sad, you may cross your arms or hunch over. This can be used to show that a character is feeling closed off or defensive.

Cold and Heat

Sadness can also affect your body temperature. When you’re feeling sad, you may feel cold or hot. This can be used to show that a character is feeling uncomfortable or out of place.

Sobbing is another physical manifestation of sadness. When you’re feeling sad, you may sob uncontrollably. This can be used to show that a character is feeling overwhelmed with emotion.

Sweating is another physical manifestation of sadness. When you’re feeling sad, you may sweat profusely. This can be used to show that a character is feeling anxious or nervous.

By using these physical manifestations of sadness in your writing, you can make your characters more realistic and relatable. Remember to use them sparingly and only when they are relevant to the story.

Authenticity in Describing Sadness

When it comes to describing sadness in creative writing, authenticity is key. Readers can tell when an author is not being genuine, and it can make the story feel less impactful. In order to authentically describe sadness, it’s important to tap into your own emotions and experiences.

Think about a time when you felt truly sad. What did it feel like? What physical sensations did you experience? How did your thoughts and emotions change? By tapping into your own experiences, you can better convey the emotions of your characters.

It’s also important to remember that sadness can manifest in different ways for different people. Some people may cry, while others may become withdrawn or angry. By understanding the unique ways that sadness can present itself, you can create more authentic and realistic characters.

If you’re struggling to authentically describe sadness, consider talking to a loved one or best friend about their experiences. Hearing firsthand accounts can help you better understand the nuances of the emotion.

Ultimately, the key to authentically describing sadness is to approach it with empathy and understanding. By putting yourself in the shoes of your characters and readers, you can create a powerful and impactful story that resonates with your audience.

Language and Dialogue in Expressing Sadness

When writing about sadness, the language you use can make a big difference in how your readers will perceive the emotions of your characters.

Consider using metaphors and similes to create vivid images that will help your readers connect with the emotions of your characters.

For example, you might describe the sadness as a heavy weight on the character’s chest or a dark cloud hanging over their head.

In addition to using metaphors, you can also use adjectives to describe the character’s emotions. Be careful not to overuse adjectives, as this can detract from the impact of your writing. Instead, choose a few powerful adjectives that will help your readers understand the depth of the character’s sadness.

For example, you might describe the sadness as overwhelming, suffocating, or unbearable.

When it comes to dialogue, it’s important to remember that people don’t always express their emotions directly. In fact, sometimes what isn’t said is just as important as what is said.

Consider using subtext to convey the character’s sadness indirectly. For example, a character might say “I’m fine,” when in reality they are struggling with intense sadness.

Another way to use dialogue to convey sadness is through the use of behaviors. For example, a character might withdraw from social situations, stop eating or sleeping properly, or engage in self-destructive behaviors as a result of their sadness.

By showing these behaviors, you can help your readers understand the depth of the character’s emotions.

Finally, when describing sadness, it’s important to consider the overall mood of the scene. Use sensory details to create a somber atmosphere that will help your readers connect with the emotions of your characters.

For example, you might describe the rain falling heavily outside, the silence of an empty room, or the dim lighting of a funeral home.

Overall, when writing about sadness, it’s important to choose your words carefully and use a variety of techniques to convey the depth of your character’s emotions.

By using metaphors, adjectives, dialogue, behaviors, and sensory details, you can create a powerful and emotionally resonant story that will stay with your readers long after they’ve finished reading.

Expert Views on Emotion

When it comes to writing about emotions, it’s important to have a deep understanding of how they work and how they can be conveyed effectively through writing. Here are some expert views on emotion that can help you write about sadness in a more effective and engaging way.

Dr. Paul Ekman

Dr. Paul Ekman is a renowned psychologist who has spent decades studying emotions and their expressions. According to Dr. Ekman, there are six basic emotions that are universally recognized across cultures: happiness, sadness, anger, fear, surprise, and disgust.

When it comes to writing about sadness, Dr. Ekman suggests focusing on the physical sensations that accompany the emotion.

For example, you might describe the heaviness in your chest, the lump in your throat, or the tears that well up in your eyes. By focusing on these physical sensations, you can help your readers connect with the emotion on a deeper level.

While sadness is often seen as a “negative” emotion, it’s important to remember that all emotions have their place in creative writing. Disgust, for example, can be a powerful tool for conveying a character’s revulsion or aversion to something.

When writing about disgust, it’s important to be specific about what is causing the emotion. For example, you might describe the smell of rotting garbage, the sight of maggots wriggling in a pile of food, or the texture of slimy, raw meat.

By being specific, you can help your readers feel the full force of the emotion and understand why your character is feeling it.

Overall, when it comes to writing about emotions, it’s important to be both specific and authentic. By drawing on your own experiences and using concrete details to describe the physical sensations and causes of emotions, you can create a more engaging and emotionally resonant piece of writing.

Unique Examples of Describing Sadness

When it comes to describing sadness in creative writing, there are many unique ways to convey this emotion to your readers. Here are some examples that can help you create a powerful and moving scene:

• The crying scene : One of the most common ways to show sadness is through tears. However, instead of just saying “she cried,” try to describe the crying scene in detail. For instance, you could describe how her tears fell like raindrops on the floor, or how her sobs shook her body like a violent storm. This will help your readers visualize the scene and feel the character’s pain.
• The socks : Another way to show sadness is through symbolism. For example, you could describe how the character is wearing mismatched socks, which represents how her life is falling apart and nothing seems to fit together anymore. This can be a subtle yet effective way to convey sadness without being too obvious.
• John : If your character is named John, you can use his name to create a sense of melancholy. For example, you could describe how the raindrops fell on John’s shoulders, weighing him down like the burdens of his life. This can be a creative way to convey sadness while also adding depth to your character.

Remember, when describing sadness in creative writing, it’s important to be specific and use vivid language. This will help your readers connect with your character on a deeper level and feel their pain.

Frequently Asked Questions

What are some effective ways to describe a person’s sadness without using the word ‘sad’.

When describing sadness, it’s important to avoid using the word “sad” as it can come across as cliché and lackluster. Instead, try using more descriptive words that evoke a sense of sadness in the reader. For example, you could use words like “heartbroken,” “bereft,” “devastated,” “despondent,” or “forlorn.” These words help to create a more vivid and emotional description of sadness that readers can connect with.

How can you describe the physical manifestations of sadness on a person’s face?

When describing the physical manifestations of sadness on a person’s face, it’s important to pay attention to the small details. For example, you could describe the way their eyes become red and swollen from crying, or how their mouth trembles as they try to hold back tears. You could also describe the way their shoulders slump or how they withdraw into themselves. By focusing on these small but telling details, you can create a more realistic and relatable portrayal of sadness.

What are some examples of using metaphor and simile to convey sadness in creative writing?

Metaphors and similes can be powerful tools for conveying sadness in creative writing. For example, you could compare a person’s sadness to a heavy weight that they’re carrying on their shoulders, or to a storm cloud that follows them wherever they go. You could also use metaphors and similes to describe the way sadness feels, such as a “gnawing ache” in the pit of their stomach or a “cold, empty void” inside their chest.

How can you effectively convey the emotional weight of sadness through dialogue?

When writing dialogue for a character who is experiencing sadness, it’s important to focus on the emotions and feelings that they’re experiencing. Use short, simple sentences to convey the character’s sadness, and avoid using overly complex language or metaphors. You could also use pauses and silences to create a sense of emotional weight and tension in the scene.

What are some techniques for describing a character’s inner sadness in a way that is relatable to the reader?

One effective technique for describing a character’s inner sadness is to focus on their thoughts and feelings. Use introspection to delve into the character’s emotions and describe how they’re feeling in a way that is relatable to the reader. You could also use flashbacks or memories to show why the character is feeling sad, and how it’s affecting their current actions and decisions.

How can you use sensory language to create a vivid portrayal of sadness in a poem or story?

Sensory language is an effective way to create a vivid portrayal of sadness in a poem or story. Use descriptive words that evoke the senses, such as the smell of rain on a sad day or the sound of a distant train whistle. You could also use sensory language to describe the physical sensations of sadness, such as the weight of a heavy heart or the taste of tears on the tongue. By using sensory language, you can create a more immersive and emotional reading experience for your audience.

Describing Sadness

The righteous cry out, and the Lord hears them; he delivers them from all their troubles. The Lord is close to the brokenhearted and saves those who are crushed in spirit. Psalm 34:17-18

A wave of sadness

Irremediable sorrow (impossible to cure/put right)

A gloom overcame me

My cry turned to whimpers

I felt layers of unsettling emotion

A sob rose in my throat

A pining melancholy

A plaintive cry (mournful)

A great pang gripped my heart

I cried in a low moan

My eyes were prickling with tears

I cried in exasperation

I cried furiously

I cried bitter tears

I felt a sting of melancholy and confusion

I felt a great wrench of sadness

My heart twisted

Tears pool my eyes

A great sense of weariness sweeps over me sucking my energy with it.

My voice, thick with tears

The words are strangled in my throat

Aching with sympathy

His eyes misted over

She had an expression of sad confusion on her face

There were tracks of tears on her face

Her face contorted and she shook her head and wept

He said with sadness in his voice

He had a lingering sadness in his eyes

He had large sad eyes

Her face clouded with a mixture of disapproval and disappointment

I watched her eyes widen and rim with tears

Her face contorted as though she was struggling not to cry

The look in her eyes was desolate

Her face becomes etched with sadness

Sadness flitted across her face

The bitterness in her face faded to weary sadness

Grave sadness in his face

Her eyes are shining with the threat of tears

The haunted look in her eyes

Darkness gathered in her eyes and filled it

Her voice, think with tears

His voice is heavy with emotion

Tears brimmed her eyes

Her face was set in resigned sad lines

She was holding her eyes in such a way that kept the tears inside the lids

I felt a wave of sadness

I feel a prick of sadness

I saw a glint of sadness in his eye

His eyes were dull with sadness

My heart was flooded with sadness

Shaking with grief

She said brokenly

My throat thickens

Sadness washed over him

She shook her head sadly

Resigned sadness in her eyes

My voice cracks

He sighs deeply, miserably

Dismay – consternation and distress, typically that’s caused by something unexpected   – Her mouth slack with dismay.

Her face Crumples like a used tissue, she turns grey

That murky dull feeling where you want to cry

It brought a pang to her heart

An ache pushed against her heart

A lump formed in her throat

Hollowed out by sadness

Dry, juddering sobs but no tears

A sharp sadness

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Describe Crying in Writing—Without the Clichés

When your characters start to cry in your story, you want readers to be able to sympathize with them. When your characters are pouring their heart out, overcome by grief, or overjoyed at reconnecting with someone who they thought had died, the last thing you want is for your readers to be bored—or worse, rolling their eyes.

And yet, most writers fall short when trying to convey such strong emotions. If you want to write truly powerful emotional scenes, you need to be able to write them in ways no one has ever heard before. Language like “tears welled up in his eyes” or “his voice cracked” just isn’t going to cut it. You need to use language that allows readers to feel exactly what the character is going through, and you can’t do that by relying on plain language or clichés. 

How to Avoid Writing Clichés when Describing Crying

The first method for making your crying scenes more dramatic is to cut out the clichés, but first, you need to be sure you understand what a cliché is. A cliché is a phrase, idea, or story element that has been overused to the point of being annoying. Some examples are:

• When a character screams “noooo!” up at the sky.
• When a character cries in the rain.
• The phrase “crying a river of tears.”
• When a character’s heart “hammers” or “pounds.”
• The phrase “a blood-curdling scream.” 

I’m sure you get the idea. However, traditional clichés aren’t the only things you’ll need to be on the lookout for in your own writing. 

There are certain gestures and physical descriptions that aren’t exactly cliché but are overused to the point that they have a similar effect on readers. For example, take the gesture “she wiped at her eyes.” Wiping tears away is a common reaction to crying. It’s something people actually do, and often . So why is it a problem? 

When a writer uses gestures like a character wiping at their eyes or chewing on their lip, they are attempting to “show” how the character is feeling without explicitly telling readers “she is crying.” In theory, that’s a good thing, but by relying on the same phrases that every writer utilizes, their character will feel like a cookie-cutter copy of every other character who’s ever cried. How many times have you read any of the following?

• She wiped at her eyes.
• He sniffled between words. 
• She sighed heavily, letting her head drop.
• Tears welled up in their eyes.
• A single tear rolled down his cheek. 
• He felt his throat closing up.
• Tears streamed down her face.
• He looked close to tears. 

In general, if you’ve read it before (especially more than once), it’s probably a good idea to find a more creative way to write what you’re trying to convey. Use metaphors and similes to create more visceral feelings, and don’t be afraid to describe things strangely. You can always work backward to make weird imagery more relatable. 

For example, instead of saying that a character’s throat is constricting because they’re about to cry, say that it’s like they’re struggling to swallow down a still-beating heart. 

That imagery is slimy, visceral, and uncomfortable, but it likens itself quite well to the sensation of anxiously forcing down tears. Emotions can be uncomfortable, so don’t be afraid of using uncomfortable imagery to describe them. 

Writing Different Types of Crying

People don’t just cry when they are sad. The situations in which characters can shed tears are wildly diverse, ranging from receiving a thoughtful gift to watching a horrible tragedy unfold before them. Characters can cry because they are joyful, frustrated, angry, disappointed, confused, relieved, and a number of other emotions. The tone of your description should match how the character is feeling.

Not only are there different emotions behind a character’s tears, but there are also different levels of intensity to each emotion. The words you use should be reflective of that too. The words “weeping” and “sobbing” are not perfect synonyms for the word “crying.” If a character is sobbing, they are going to be gasping for air, overcome with emotion—they may even curl up or heave.

If your character starts sobbing after a minor inconvenience, readers aren’t going to feel bad for them. Rather, they’ll just be annoyed by the character’s overdramatic reaction. Take that same reaction, however, and apply it to a scene in which another character dies, and suddenly, it becomes powerful.

However, human emotions are complex and varied, so your characters could have many other reasons for breaking down besides just “sadness.” In addition to that, emotions are rarely expressed as separate experiences. Rather, emotions overlap and twist together, making them much harder to portray in the written word. 

If you want some quick tips and pointers for portraying complex emotions, I cover the topic more in-depth in another article: How to Describe Facial Expressions in Writing . For now, let’s dive into how different emotions can alter a character’s behavior as they cry. 

Sadness is a broad emotion, so the context for why your character is crying is important for understanding how they are crying. The way someone cries when watching a sad movie is going to be very different from how they cry after receiving sad news.

In general, when a character cries out of pure sadness, with no other emotions influencing their behavior, they are likely to cry quietly. Sadness is a numbing emotion, so characters who cry out of sadness would be rather subdued. Common responses include curling up in a ball, chewing on their lower lip, and prolonged periods of simply not moving. Tears may be wiped away, or allowed to freely flow down the character’s face.

If you want to give your readers insight into how the character is feeling as they are crying, focus on the numbing aspect of sadness. Your character may feel physically and mentally deadened, tired, and even nauseous. They may also feel isolated from others as if they are alone in their suffering and no one understands, even if that isn’t necessarily true. Depending on the character, they may seek comfort from others, or withdraw to compose themself alone. 

Happy Crying

When a character is crying out of happiness, their response is going to depend on the context as well. Crying after receiving a big surprise, such as an expensive gift or an acceptance letter to a great college, is going to look different from a character crying on their wedding day. 

When a character is crying happy tears, they are likely to gasp frequently, cover their mouth with their hands, and speak in a high-pitched tone. They are also likely to emote exaggeratedly with their body, such as bowing over, bouncing up and down, fanning their face with their hands, or clapping. In more subdued settings, such as a wedding, the character may restrain their emotions and simply cry openly with a sincere smile on their face. 

Feelings of happiness are difficult to describe, but that doesn’t mean you should shy away from giving readers insight into the character’s mind. When a character cries out of happiness, they are likely going to be overwhelmed with joy, excitement, or even disbelief. Characters are also much more likely to cry happy tears if they think they don’t deserve whatever is making them happy. 

Angry Crying

Anger doesn’t always lend itself to tears, but when it does, it has specific and predictable effects on a character’s behavior. A character may cry angry tears when they are being treated unfairly, are arguing with someone, or have been hurt emotionally.

When a character gets angry, that triggers an adrenaline reaction (their “fight-or-flight” response to stress or danger). Adrenaline drives how they behave while they cry, and it may cause them to tremble, raise their voice, become red in the face, sputter, and breathe much faster than normal. Depending on the character, they may wrap their arms around themself defensively, curl their hands into fists, or lash out with aggressive gestures. 

If you want to describe how that feels from the character’s perspective, a good theme to focus on is temperature. Anger is often described as “searing” or “boiling,” and it can feel as if they are burning up inside. When anger drives a character to tears, it is usually because their emotions have reached a breaking point and must be released. 

For more tips on writing about anger, take a look at Writing a Character with Anger Issues .

Embarrassed Crying

Embarrassment by itself is often enough to motivate a character to cry. Whether they have been humiliated in front of their friends, made an embarrassing mistake, or said something stupid without thinking, embarrassment can result in a strong emotional response. If handled well, you may also allow your readers to feel your character’s pain, through the phenomenon of second-hand embarrassment . 

A character crying out of embarrassment is, above all else, going to hide away from others. They may cover their face with their hands, curl up as small as possible, and try to withdraw from other people. Though it depends on the character’s personality, most of the time, they will seek to be alone out of fear of being judged for whatever caused the embarrassment.

To give your readers insight into how the character is feeling, you should allow your character to overthink how others would respond to witnessing the embarrassing event. They may feel shame and fear, and they are likely going to feel quite self-conscious about themself and their abilities. They may even feel ashamed of their reaction to the embarrassment, and try to hide the fact that they are crying. 

Scared Crying

Not everyone cries when they are frightened, but it is not an unusual response. Some characters may cry after being spooked for a prank, while others may only break down when they genuinely fear for their life.

When a character cries out of fear, they will experience a rush of adrenaline (just like with angry crying!) They will experience tears along with the typical reactions to adrenaline, like increased heart rate, a flushed face, and faster breathing. They are also likely to freeze in place, stammer, tremble, and whine. 

Fear is a powerful emotion, and it can dominate a character’s thoughts and actions. When a character is afraid, they might not even be aware of their tears until after the danger has passed. Rather, the character is going to be focused on what they are doing to eliminate or escape from whatever they are afraid of.

Pained Crying

Pain is another common reason for characters to shed tears, and it is often unavoidable even for ordinarily stoic characters. For some, crying might be their response to any amount of pain or discomfort, while others may need to be pushed to the point of agony before they shed tears. Either way, pained crying can look different depending on the type of pain and the character affected by it. 

When a character is crying because of acute pain, such as a sudden wound, they are likely to cry out or groan loudly, curl up in a ball, or exhibit reactions similar to scared crying. However, when a character has been experiencing chronic pain for some time, they may simply break down from the exhaustion of having to put up with that all the time.

It can be tough to get into the head of a character in pain. Pain can overshadow other thoughts and feelings, or intensify negative emotions like anger, fear, or sadness. If your character is afraid for some reason, either of whatever hurt them, for the safety of their friends, or for their own survival, now would be a good time for them to hyper-fixate on that fear—and their own inability to do anything about it. 

Disappointed Crying

Disappointment is an emotion that includes elements of sadness, anger, and even embarrassment. When a character was looking forward to something, such as a gift, a trip, an event, or something else, and is let down, they express disappointment that the situation doesn’t go as they envisioned it. They may be angry at whatever messed up their plans, angry or ashamed at themself for being so let down, or simply sad that they didn’t get what they want.

A character crying because they are disappointed is likely to be pouty and subdued, but they are also likely to exhibit many of the same behaviors as angry, sad, or embarrassed crying. They might hide away, start yelling, or seek comfort from others. It all depends on the character, the situation, and what went wrong.

After being disappointed, a character is probably going to be thinking about what happened long after the situation is over with. Disappointment is a slow-burn emotion, and your character is probably going to feel pretty bummed out for a while even after they stop crying. 

Frustrated Crying

Frustration is an overwhelming emotion, and crying because of it can often worsen that initial frustration. Often, frustration is the result of a character getting fed up with their own inability to achieve something, whether that’s beating a hard stage in a game, convincing someone of something in a debate, or being able to overcome their personal struggles.

Characters become frustrated when something they worked hard for isn’t working out. When this pushes a character to tears, they might start behaving angrily, or their behavior could mirror that of sad crying. Often, a character who is frustrated will lash out violently, hit or throw things, and then sit down to cry. This pattern is almost always followed: the character lashes out to release their initial frustration, then gives up and begins to cry more passively. It is also common for a person to harm themself when they lash out, such as by pulling their hair or hitting something too hard. 

Frustration can feel like an eruption of emotion. It builds up over time and is then released all at once. This can lead characters to start crying suddenly, with very little warning before it happens. 

Panicked Crying

Panic can bring a character to tears in the blink of an eye. When a character loses something they treasure, finds themself in an unsafe place, or encounters a person who has harmed them in the past, they may begin to panic. Past trauma is a common reason many characters have for breaking down into panicked tears, but characters with anxiety and panic disorders can experience panic attacks with no clear triggers. 

When a character is panic crying, they are going to be hyperventilating, and they may have a frenzied look, pace around wildly, rock back and forth, or clutch onto someone or something for comfort (or protection). They are also likely to scream, shriek, or whimper. In a lot of ways, this type of crying manifests very similarly to scared crying, but with much more restless energy.

Panic is an emotion that can overshadow all other emotions and rational thought. A panicking character will feel numb and lightheaded, and they may have a difficult time staying upright without someone or something to lean on. They may have a difficult time stringing words into a coherent sentence, and they’ll likely have a much harder time thinking of solutions to problems, formulating complex thoughts, and rationalizing their behavior. 

Panic isn’t just experienced; it takes over a character’s thoughts and behavior completely. 

Hopeless Crying

Hopelessness is a straight path to tears. When a character believes that nothing matters, they cannot save the world (or their loved ones), or that they simply cannot go on the way they have been living, they may begin to cry hopelessly. 

Hopeless crying goes beyond sadness. When a character is feeling truly hopeless, they may become lifeless, apathetic, or even downright catatonic. They will not bother to wipe away tears, so make a point to draw attention to the tears dripping off the end of their nose or splattering on different surfaces. Many surfaces, such as clothing, wood, and concrete, change color when they are wet, so if your character is crying onto a surface like that, you could also comment on the dark spots that appear with each tear that slips off the character’s face. 

A character who is feeling hopeless may feel as if they are alone in their struggles, and they can’t do everything themself. They may feel as if they have been abandoned, let down, or held back, and that they are powerless. This sense of powerlessness can cause a character to simply give up and shut down, leading to hopeless crying. 

Writing Dialogue when a Character is Crying

When writing dialogue for a character who is crying, it is important to remember to not go overboard. Once you have established that the character is crying, you shouldn’t have to do much extra work with the dialogue to further convince your readers of that. With that said, if you just type dialogue completely normally, that may come across as jarring if the tone doesn’t match how the character is feeling. 

The best way to indicate that a character is crying as they are speaking is to break the dialogue up to slow it down. One way you can do that is with the use of ellipses, like this:

“I don’t know… Maybe it’s just… better this way.” 

However, this is really easy to overdo. Make sure you read your dialogue out loud to ensure that the pauses sound natural for the character who is speaking.

Another option is to break up the dialogue with narration that reflects the other things the character is doing as they are speaking. These interruptions are called “ action beats ,” and they are a helpful little tool for controlling the pace at which your readers move through dialogue. Here’s an example of a beat in dialogue, using the same example as above:

“I don’t know,” Nate sighed, pausing to wipe his nose on his sleeve. “Maybe it’s just better this way.”

You might be tempted to misspell words as the character is speaking to emphasize the fact that they are slurring words together as they cry, but do not do that. Either state that the character is slurring their words, or that the other characters had difficulty understanding them. Misspelling words to look slurred is awkward, and it almost never feels authentic. Not to mention, that can make it difficult for readers whose first language isn’t the one you’re writing in. 

How to Describe a Character Trying Not to Cry

Sometimes, a character who feels compelled to cry may want to hold it in, either because they are afraid of what others would think, too proud to be seen crying, or because it isn’t socially acceptable in a particular setting. If you can show your readers how your character is fighting back tears, instead of simply telling them that, the scene will be much more emotionally charged. 

When a character is trying not to cry, they may employ several techniques to try to keep the tears from coming. Here are some options you can use to indicate that a character is trying not to cry:

• They could avoid eye contact with others, or look upward or downward. Alternatively, they could close their eyes.
• They could focus on keeping their breathing steady and slow, so much so that they miss what others say to them. 
• Their face may become red.
• They may avoid speaking, out of fear that their voice could crack.
• They may bite their lip, fidget with something, or seek other sensory distractions such as chewing on something, picking at their nails, or humming. 
• They may try to hide their sadness by expressing a different emotion, such as anger or happiness. 
• They may try to think of something else to distract themself. 

Remember to keep the character’s personality, and their reason for being upset, in mind as you are writing this scene. No two characters are going to react to the same situation in the same way. In addition to that, the same character who would ordinarily stay quiet in one situation may lash out violently in a different one. 

How to Describe Fake Crying

On the opposite end of the spectrum, you may have characters who aren’t upset, but want (or need) to shed tears anyway. People have many reasons for wanting to fake tears, including connecting with others, expressing remorse, getting attention, or getting themself out of trouble. However, the most common reason people have for fake crying is manipulation. It’s much easier to get someone to do something for you if you shed a few tears first. 

Here are some quick examples of things you can include to show that a character is fake crying:

• They may squeeze their eyes shut tightly, trying to force out tears.
• They’ll likely scrunch up their face, and exaggerate their expression to look sad (such as pulling down the corners of their mouth, pulling their eyebrows closer together, and potentially pouting their lips).
• Their nose will not be running, and they won’t have any difficulty with breathing. If they want to be convincing, they will have to consciously sniffle and force their breathing into a more irregular pattern. However, their sniffles won’t sound the same without their nose running, so keep that in mind. 
• They are likely to hide their face with their hands since it will take them much longer to produce tears—if they can manage to do that at all.
• They are much more likely to wail, cry, mumble, or make any other distressed noise than someone who is actually crying. 
• They will be working harder at keeping their performance consistent, while someone who is actually crying may express a variety of other emotions as they try to get a grip on themself. It’s not uncommon for someone who is genuinely upset to express nervousness, fear, anger, and even a smile. 
• They will exaggerate everything they do to try to be more convincing. 
• They will be able to stop “crying” suddenly, whereas someone who is actually upset is going to need some time to pull themself together. 

If your story is told from the perspective of the character who is faking tears, or from an omniscient perspective, then you have an additional advantage. You could give readers insight into what the character is thinking, which you could utilize in a couple of different ways. You could be explicit, and simply show readers that the character is thinking of how to be more convincing, or you could simply show that their thoughts are clear and unrelated to what they should be upset about. Even if you don’t state it, your readers should be able to figure out that the character is faking if you give them enough clues. 

Write Crying Realistically

The most important thing to keep in mind when you are writing about characters crying is that strong emotions are not pretty. No one looks good when they are crying—they just don’t .

Here are some examples of things that happen when a character cries:

• Their face will be red and scrunched up.
• Their nose will be running.
• They’ll be sweaty.
• Their eyes will be bloodshot and puffy.
• They’ll produce more saliva.
• Their glasses may fog up.
• Tears (and snot) will get on everything.
• Their voice will crack, change pitch, and rasp.
• They may stutter or become incoherent.
• They may drool. 

When you’re describing a character crying, don’t be afraid of making your readers a bit uncomfortable. Crying is gross , so that’s how you should describe it if you want to do so realistically. If you want more tips about portraying emotion (or anything else) realistically, you should check out Show, Don’t Tell: What it is and How to Write it .

Finally, I’ll end with one last piece of advice. Your character’s reactions to different situations and events can reveal a lot about them. If they overreact in a particular situation, such as encountering a rude stranger, getting lost, or misplacing their phone, you can use that to reveal more about the character’s past. Their reaction to a rude stranger could reveal that they were hurt by someone in the past, while breaking down at the notion of being lost could suggest that they struggle with anxiety. Utilize those reactions to help you tell their story. 

Best of luck with your stories, writers!

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

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

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

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

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

So What’s a Fluttering Heart to Do?

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

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

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

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

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

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

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

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

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

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

Just like Billy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Slow It Down

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

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

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

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

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

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

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

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

Want to master the emotional craft of fiction?

Dive into the online course emotional mastery for fiction writers .

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

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

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

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

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

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

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102 Comments

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

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

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

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

Great advice, Robin!

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

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

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

Thanks! I’m glad you think so.

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

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

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

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

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

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

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

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

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

Thanks, Sue!

nicely shown

This is very helpful. Thank you for posting this.

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

Is it just experience and a good ear?

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

That’s great advice. Thank you!

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

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

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

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

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

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

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

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

A good observation, Mawr. Thanks for stopping by.

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

Thanks! Glad you found it helpful.

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

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

So glad it helped, Kelly.

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

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

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

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

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

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

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

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

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

You may be right. Thanks for the feedback.

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

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

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

Maybe pull the plug?

the best way! im thankful to u

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

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

Glad it helped, Maz!

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

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

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

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

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

I’m so glad you found it helpful!

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

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

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

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

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

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

So glad you found it helpful, Charlotte!

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

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

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

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

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

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

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

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

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

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

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

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

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

Amazing bit of writing. Thanks for the article.

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

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

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

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

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

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

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

I was shocked at the difference of my own response.

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

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

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

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

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

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

So glad you found the post helpful, Jennie!

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

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

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

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

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

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

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

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

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

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

You’re very welcome!

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

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

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

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

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

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

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

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

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135+ Sad Writing Prompts to Stir Deep Emotions in Readers

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Writing Prompts

The benefits of using sad writing prompts

Unlocking creative depths.

Enhancing writing skills

Exploring emotions and improving mental health

Sad writing prompts to unleash creative depths

Exploring health challenges and personal struggles.

Tackling social challenges and environmental crises

Delving into personal relationships and trust issues

Artistic expressions of emotions

Sad writing prompts to develop students’ writing skills

Addressing academic pressure and anxiety.

Understanding family dynamics and common issues

Confronting bullying and peer pressure

Navigating friendship and unexpected setbacks

Sad writing prompts to facilitate emotional expressions and personal growth

Facing anxiety and fear.

Examining loneliness and isolation

Reflecting on regrets and mistakes

Dealing with loss and heartbreak

Unraveling betrayal, conflict, and misunderstandings

Do sad writing prompts have to be with a sad or tragic ending?

Conclusion: Gateways to emotional depth, imagination, and transformation

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Let’s Write Sadness

Picking up from where we left off, we’re talking about sadness or grief today. The topic was suggested to me by someone in the writing group I belong to on Facebook. Love was also suggested and I’ll definitely delve into that one, but I think it might need to be spread over more than one post since love has so many variations. Thank you for the suggestions, though!

Just a general note here. While I did include some things depressed characters typically will experience, please do keep in mind that sadness and depression aren’t the same thing. Many symptoms of depression will also be mentioned in other posts in this series , since depression has so many variables. If you are planning on writing a character that struggles with any kind of mental illness, it’s always a good idea to do some research on that specific illness. Speak to people who suffer from it and bookmark the websites where you got your information for later reference.

Sad Body Language and Speech

• Drooped posture, shoulders slumped, face turned downwards.
• Crossed arms, with shoulders pulled together and hands that rub over the arms or sides (a self-soothing motion).
• Slower movements than usual.
• Half-formed movements, as if the character doesn’t have the energy for more. Shrugging one shoulder, raising the hand to wave without actually moving it sideways, many sighs, one-word answers, etc.
• Characters who have been sad for a long time or are depressed might become especially lethargic, quiet and non-committal.
• Characters with prolonged sadness or depression might also have lost or gained some weight, will probably have dark circles under their eyes and might be more irritable than usual, or fidget a lot. They might not see the point in doing anything.
• Due to heightened irritability, they might show signs of anger .
• Prolonged sadness also often results in lowered immunity, so the character might be physically ill. Cough, runny nose, fever, sniffling, etc.
• Delayed reactions or a shattered attention span, as if the character isn’t fully aware of what’s happening around them.
• When sitting, the character may use any kind of movement that balls them up to make them seem small: knees pulled up, legs crossed, arms folded on a table and head rested on the arms, etc.
• When lying down, the character might pull into a ball too (foetal position) OR they might kind of flump down and remain how they fell, as if they don’t have the energy to move.
• Dragged feet.
• Some characters might have the intense need to get away (flight). They might run or stomp out of the room, put objects between them and other characters, almost like a shield, or even swat at characters trying to comfort them (fight).
• Some characters deal best with strong emotions on their own and might not want to be held/comforted. BUT timid or submissive characters might allow it, even if they don’t want it, because intense emotions might lower their will to fight for themselves even more.
• Someone who is sad but wants to be left alone will turn their torso away from other characters.
• Most people want to be only around the people they love/trust most when they’re experiencing grief, but some do open up to complete strangers if they have the intense need to be comforted or understood.
• Needing to be touched or held by other characters. Even characters who are otherwise independent might become clingy when sad. So, reaching out, holding hands, hugging, leaning on others, etc.
• Difficulty maintaining eye-contact, staring into the distance, often looking down. Stoic characters or characters trying to hide their grief might have an especially hard time of maintaining eye-contact.
• Stoics or those trying to hide their feelings might also mimic a calm posture: remain upright, arms at their sides and legs slightly spread. If they’re especially good at keeping a calm demeanour, they might even keep their chin raised and force themselves to breathe naturally. So miniature movements that show something is wrong are the key: twitching or trembling fingers, sliding backwards, shifting weight from foot to foot, higher pitch than usual, swallowing, doing things that are out of character, clearing voice, etc.
• Cancelling gestures show distress and angst, which almost always go hand-in-hand with sadness. Saying no but moving forward, saying stop but not opposing the other character’s actions, saying yes but retreating, etc.
• Covering the head with hands or arms.
• Covering eyes with one or both hands, or in the crook of the arm.
• Tears and crying.
• Characters experiencing intense grief might fall to their knees, crouch or stand on all fours, then weep with a bowed head. They might also clutch at their hair and yank at it.
• Rocking from side to side.
• Wiping nose and eyes.
• Moaning, mumbling, praying.
• A toneless, quiet voice.
• A hoarse, cracking voice.
• Sad characters will use negative words in speech more often: hate, disappointed, miserable, sucks, etc. They might also use ‘me’ or ‘I’ more frequently.
• Covering mouth with one or both hands (especially when receiving sad tidings or having to share them).
• Hands in or near the mouth, chewing nails.
• Palms pressed together.
• Hands on their chest, as if to clutch or cover their heart.
• Retreating a few steps.
• Head tilted and chin tucked.
• Allowing hair or clothing to cover their face, looking up at other characters through hair or from the shadows cast by clothing.
• Characters experiencing intense grief may hold their necks and gasp, as if they’re struggling to breathe.
• Some characters become reckless when dealing with any intense emotion (we talked about this in the anger post too) but characters who have just lost a loved one/pet might become especially reckless and knowingly endanger themselves.
• Some characters might self-harm, though if you’re writing about this PLEASE DO THE NECESSARY RESEARCH AND WRITE WITH CAUTION .
• Some characters might turn to alcohol, drugs or other stimulants. But again, research and caution.

Sadness in Expressions

• Trembling or tight lips.
• Corners of the mouth turn down.
• Children will show the inside of their lower lip or puff out their cheeks.
• Biting down on lips repeatedly.
• Characters who are disbelieving and sad may gape.
• Characters who are trying to conceal their grief might smile, but a fake/sad smile won’t light up the eyes or cause crow’s feet to appear, and most fake smiles show the lower teeth.
• Stoic characters or those trying to hide their feelings will typically show only micro-expressions, so the slight puckering of lips, swallowing (Adam’s apple moving), mouth corners and eyebrows twitching, rapid blinking, slightly raised or tucked chin.
• Clenched jaw.
• Outer ends of the eyebrows droop.
• Inner ends of the eyebrows raise and pull together.
• Scrunched up nose.
• Eyes shut heavily.
• Bloodshot eyes.
• Puffy eyelids.
• Splotches of colour in the face and neck.
• Going pale.
• Rapid blinking (often to remove tears).
• Red-tipped, damp nose.

What Sadness Feels Like

• Slowed breathing, as if the chest is heavy.
• An overall feeling of heaviness, or being trapped and unable to escape.
• Feeling numb, hollow.
• Aching head or stomach, muscle pains in the neck, back and chest especially. Any cold-like symptoms could also be added if the person has been grieving for a long time.
• Wanting to scream but being unable to.
• Sore throat and burning eyes due to sobbing.
• A dry mouth.
• Lack of appetite OR enhanced appetite.
• Feeling nauseated or dizzy.
• Being exhausted, but struggling to sleep OR sleeping more than usual but still feeling tired.
• Wanting to be alone OR not wanting to be alone.
• Not wanting to talk or be touched OR wanting to talk and be touched constantly.
• Feeling cold.
• Fixating on the person/pet/thing you lost. Replaying memories of that person in your head, or wanting to look at photographs of them.
• Being unable to concentrate, or not interested in things/pets/people you love.
• Not seeing the point in anything.
• Feeling confused, as if the current events can’t be true and must be a bad dream.
• An outward show of apathy, while there’s chaos in the mind.
• Feeling as if you’re going insane.
• Disbelief and unwillingness to accept what caused the sadness.

This is a massive post, but I still feel like so much can be added. I really hope it helps. If you have anything to add, please don’t hesitate to comment. Also, any suggestions for other posts in this series are welcome. You can find all of the writing emotions posts here . There should be a new one every two weeks. 🙂

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7 responses to “Let’s Write Sadness”

Thanks yolandie. Is it ok if I use this phrases on my blog.

Hi Nasra! Thank you, I’m glad you enjoyed the blog. You’re welcome to quote this post, as long as you link back. 🙂 Happy writing.

Thanks for that great information… Very very useful information out there. Be blessed, please.

Thank you and you’re welcome!

an you describe a whole situation with only sadness emotions and it should not be a narrative

Thanks for the comment, Noor! I have a whole series of these kinds of posts that includes other emotions too! I just hope to learn more about writing tighter emotional scenes and maybe help other indie writers in the process. 🙂

[…] moral input. Because the sensations and reactions of self-disgust are so close to those of anger or sadness, I’d suggest checking out the posts I dedicated to those […]

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53 Writing Prompts About Sadness

Sadness is a universal emotion that everyone experiences at some point in their lives. For writers, expressing sadness through writing can be both therapeutic and creatively inspiring. Whether you’re looking to delve into your own emotions or develop a deeper understanding of your characters, writing prompts can be an invaluable tool. 

In this blog post, we’ve have 53 poignant writing prompts about sadness to help you explore and express this complex emotion in your writing.

Sad Writing Prompts

• Write about a time you felt really alone.
• Describe when you realized you lost something or someone important.
• Write a letter to someone you miss.
• Imagine a world where everyone is always sad. What caused it?
• Describe a rainy day from the perspective of someone with a broken heart.
• Write about a sad dream you often have.
• Create a story where a character says goodbye to their best friend.
• Write about a family heirloom and the memories it brings.
• Describe a moment of regret that still bothers you.
• Write about finding an old photo album and the memories it brings back.
• Pen a poem about unrequited love.
• Describe visiting a graveyard.
• Write about a time you felt misunderstood.
• Imagine a character who can’t cry. What happens when they finally do?
• Write a letter from a character to their younger self.
• Describe when you realized someone close to you changed.
• Write about the sound of silence in an empty house.
• Imagine a character receiving letters from someone they thought was gone.
• Write about coming home to an empty house.
• Describe a scent that reminds you of someone you lost.
• Write about finding a journal entry from years ago.
• Start a story with a funeral.
• Describe when a character knows they won’t achieve their dream.
• Write about leaving home forever.
• Describe the first time you felt true heartbreak.
• Write a story about letting go of a childhood pet.
• Describe a song that always makes you cry and why.
• Write about watching someone you love slowly fade away.
• Imagine a character writing letters to a lost loved one they never send.
• Write about a place that used to make you happy but now brings sadness.
• Describe forgiving someone who deeply hurt you.
• Write about packing up a loved one’s belongings.
• Imagine finding an old forgotten toy.
• Describe driving away from a beloved place for the last time.
• Write about a character losing their sense of purpose.
• Describe the first snowfall after a significant loss.
• Write about facing a character’s greatest fear.
• Describe when a character finally accepts their sadness.
• Write about finding comfort in an unexpected place.
• Imagine a world where people can trade memories.
• Write about making a difficult goodbye.
• Describe feeling like you’re fading away.
• Write about hearing a loved one’s voice after a long time.
• Describe watching someone you care about walk away.
• Write about finding a letter you never sent.
• Describe the first night in a new, unfamiliar place.
• Write about keeping a box of memories.
• Describe holding onto a painful secret.
• Write about a place that only exists in memory.
• Describe healing from deep sadness.
• Write about finding solace in a solitary activity.
• Describe finding an old letter from a loved one.
• Write about letting go of a dream.

Exploring sadness through writing can be a powerful way to understand and process this deep emotion. These prompts are designed to help you tap into your feelings and bring authenticity to your writing. Whether you’re writing for yourself or creating stories for others, let these prompts guide you through the complexities of sadness and inspire meaningful expression.

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How can you express sadness without using any word non-figuratively related to sadness?

How can you express sadness without using any word non-figuratively related to sadness? I have been told that in poetry you need to "Show, but not tell" instead of saying thing literally, so I am seriously wondering how you can express sadness without using any literal word related to the concept of sadness. There are probably many techniques, but I can't really think of many to be honest.

• creative-writing

4 Answers 4

Posture: He drooped, head bowed, shoulders forward, back bent, silently dragging his feet as he went...

Gaze: Her eyes were unfocused, staring into an empty distance...

Probably other physical ways also.

You can also express sadness, depression or unhappiness etc indirectly through the way the person sees the world ie The window unremittently showed him a bleak landscape; She saw the gravestone's worn engraving, she struggled to hear his voice in her head; The cat's milk saucer, dried up and unwashed for weeks,reminded her of her loss, yet its removal would deprive her of a last link. How, and in what particular way do you feel, when you or the person you are writing about is sad? – Ask yourself this, and your own personal, individual sense of sadness will come to the fore.

Research the ways of sadness.

What kind of sadness is it? Just regular sadness, mild depression, severe depression, etc.? And if it is depression, what type of depression?

Look up the different ways depression/sadness manifests itself into men and women differently. There are many symptoms, with men's and women's diverging somewhat. For example, women tend to be more verbal, while men tend to "act out" more (alcohol, drugs, anger, irritability, etc.)

Search whatever else you need, such as the reasons why it happens.

Keep these things in mind as you go along, and keep the character's personality and life in mind as well.

Find out how people with sadness have felt. You will need multiple examples, since not everyone is the same. We're all unique and different, and that's what makes us normal.

• 1 Yes, and people wiith chemical depression may express the resulting sadness that they feel differently than they would express sadness that they feel as a result of, say, bereavement, or of their team losing the game. –  Stephen Daddona Commented May 29, 2020 at 13:37
• @StephenDaddona Agreed. There are many different types and ways that it can form. –  Acid Kritana Commented May 29, 2020 at 15:05
• Just going to put this out there, Depression (MDD, Dysthymia, PDD, BDI, BDII, etc.) is far different from sadness, and so to is bereavement. The three should not be conflated as being just extreme or benign forms of the other. –  Brian Hinman Commented Sep 21, 2020 at 15:15
• @BrianHinman Actually, we all (or at least most) have moments of depression. However, depression that lasts a long time is bad. –  Acid Kritana Commented Oct 7, 2020 at 22:23
• 1 @AcidKritana So, to correct your conception about these things, the "depression" you're referring to with "...moments of depression" [with respect to the way you use it] is a colloquialism. It refers to non-problematic sadness. The "depression" you're referring to with "...depression that lasts a long time is bad" is Dysthymia, or Persistent Depressive Disorder, which does last a long time, about 2 years. However, other forms of depression, say MDD, lasts a lot shorter, about 2 weeks. Given the context of the question, it's referring to pathological depression, not colloquial depression –  Brian Hinman Commented Oct 8, 2020 at 1:36

There are many ways to talk about emotions obliquely. You can put them into metaphors:

The ocean is gray, and I am lost in the tidepools, with their swirling sands.

You can talk about the context:

Day fifty-three since she left, and the house grows ever more quiet

You can deny them.

Why do you ask? I've never felt happier! Why shouldn't I be happy?

You can depict them physically.

What is this wetness on my cheek?

Or all of the above

The ocean is gray and I am lost in the tidepools with their swirling sands: Day fifty-three since she left and the house grows evermore quiet Why do you ask? I've never felt happier! Why shouldn't I be happy? What is this wetness on my cheek?

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KathySteinemann.com: Free Resources for Writers

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

100+ Ways to Say “Sad”: A Word List for Writers

Emotion in Writing Captivates Readers

But not so much if Mary Sue is sad on every page.

So how can a writer maintain mood without losing readers? By showing emotion or replacing sad with other adjectives. This post provides the tools.

Beware the Redundancy Trap

What a sad and tragic life Mary Sue led.

Most thesauruses list sad as a synonym for tragic . Why burden readers with two words that mean the same thing?

What a tragic life Mary Sue led.

Sad should also be removed from the following phrases and others like them — except in dialogue, which should seem natural :

hard and sad times

sad and disappointed

sad and grave

sad and lonely

sad and sorry

sad and upset

sad and troubled

sad disappointment

sad disaster

sad funeral

sad obituary

sad, gloomy countenance

Did you notice that many of the previous phrases include and? Keep that in mind as you edit your work.

Show Your Characters’ Sadness

They might exhibit various behaviors, including:

• lack of energy
• empty stares
• quiet actions
• biting the lip
• clouded thoughts
• hanging the head
• downcast gaze
• monotone voice
• voice that breaks
• slouched posture
• trembling chin
• hunched shoulders
• furrowed forehead
• plodding movements
• tears or open weeping
• covering face with hands
• sitting with head in hands
• damp, red, or swollen eyes
• clenched jaw and/or stomach
• shuffling gait, with hands in pockets

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

Let’s Review a Few Examples

Dad had a long, fulfilling life, and he wouldn’t want us to be sad for him now that he’s gone.

There’s nothing wrong with this sentence, especially if it’s dialogue, but we could eliminate sad:

Dad had a long, fulfilling life, and he wouldn’t want us to mourn for him now that he’s gone.

Whenever an adjective appears with to be ( am, are, is, was, were, will be, etc.), the narrative suffers. In this case, I swapped to be sad with the more active to mourn .

Justine shut the front door. Her parents knew from her sad look that she had lost the election.

Knew filters the action through the senses of Justine’s parents. Let’s try a different approach:

Justine clicked the front door shut and murmured in monotone to her parents, “I lost the election.”

Note the indications of sadness. Justine clicks the front door shut — a quiet action. Her monotone voice adds to the scene, as does her dialogue.

With a sad expression, Jordan picked up the smashed cell phone.

Nothing in the preceding sentence shows the degree of Jordan’s emotion.

A smashed cell phone might evoke a mild response if it has been backed up recently or doesn’t contain any important data. However, let’s assume the phone holds irreplaceable photos of a loved one who has passed away; that would cause a strong reaction:

Chin trembling, Jordan picked up the smashed cell phone. He wept.

Is there any doubt now about the depth of Jordan’s sadness?

Maria’s sad eyes made Charlie feel compassionate.

Feel is a filter word . We can edit this sentence to create a short but effective alternative:

Maria’s anguished eyes filled Charlie with compassion.

Same number of words, stronger adjective, more active sentence.

Amy was sad , so Mommy dried her tears.

Why is Amy sad? If we show the situation that caused the tears, we don’t need sad:

The space under the Christmas tree was empty. Santa’s milk and cookies still lay on the mantel, uneaten. Amy cried, and Mommy dried her tears.

A few extra words convey pathos that could be the basis for several paragraphs or an entire chapter.

Roger was sad because the bank wouldn’t lend him any money.

This sentence is pure tell.

Roger hung up the phone and slouched into his chair. “What should I do now? The bank won’t approve my loan.”

In the edited version, the power of dialogue combined with Roger’s slouch show his sadness.

Replace Hackneyed Phrases

Here are a few:

sad as it might be: tragically

sad fate: tragic demise

sad sack: failure, dud

sad state of affairs: upsetting situation

sad to say: regrettably, unfortunately

If You’re Stuck, Investigate These Instant Sad Alternatives

Some are colloquial — appropriate for dialogue or conversational narrative. Heed subtleties of meaning.

A to C agonized, anguished, bereft, beside oneself with grief, bitter, bleak, blue, broken, brokenhearted, brooding, bummed out, cast down, cheerless, close to tears, crestfallen, crying one’s eyes out, crushed

D defeated, deflated, dejected, demoralized, depressed, desolate, despairing, despondent, devastated, disappointed, disconsolate, discouraged, disenchanted, disheartened, disillusioned, dismal, dismayed, dispirited, distraught, distressed, doleful, dolorous, down, down in the dumps, down in the mouth, downcast, downhearted

F to H feeling blue, forlorn, fretful, full of sorrow, funereal, gloomy, glum, gone to pieces, grave, grief-stricken, grieved, gutted, heartbroken, heartsick, heavyhearted, hurting, have a lump in the throat, have a bleeding heart, have a sinking heart, have an aching heart, have the blahs, have the blues

I to O in a funk, in doldrums, in grief, in low spirits, in pain, in the dumps, in the pits, in the toilet, inconsolable, kicking oneself, let down, losing heart, losing hope, low, low-spirited, lugubrious, melancholy, miserable, mopey, morbid, morose, mournful, on a downer, overcome with sorrow

P to W pensive, reduced to tears, sepulchral, sick at heart, singing the blues, somber, sorrowful, spiritless, subdued, taken down, tearful, tormented, torn-up, tortured, troubled, unglued, unhappy, unsettled, upset, wistful, withdrawn, wretched, woebegone, woeful, worried, wretched

Ready to Flex Your Writing Muscles?

Remove all instances of sad from the following.

Jessie’s heart thumped like a drum in her chest . She felt sad , devastated. Three years. Three years she had devoted to Steve. And for what? How could he have done this to her?

Suggested solution

Jessie’s chin trembled. Three years. Thirty-six months. One hundred fifty-six weeks. She had laughed at Steve’s inane jokes, picked up his stinky socks, and listened to him snore all night. And for what? How could he have left her for another woman?

Notes: Rather than tell how Jessie feels, we show her trembling chin, and we provide a specific reason for her emotion. We also show some of her three-year devotion. Breaking the years into months and then into weeks emphasizes the passage of time.

Travis was sad . Cardboard boxes full of memories lay on the bedroom carpet. Family photos. Benny’s christening gown. Benny’s baseball mitt. Travis’s sad eyes rested on the saddest memory of all: Benny’s baby book. Benny. Gone forever.

Travis slouched into the bedroom. Cardboard boxes brimming with memories blanketed the carpet: family photos, Benny’s christening gown, Benny’s baseball mitt. He rubbed his swollen eyes and stared, heartsick, at his son’s baby book. He sobbed. Benny. Gone forever.

Notes: Travis’s slouching shows his sadness. Brimming is a more appropriate choice than full of . Slight punctuation changes strengthen readability. Travis’s sad eyes are shown by their swollen condition, and his sob reinforces his sadness.

George could tell that Janet was sad , but he didn’t know how to comfort her. Women scared him, especially independent women who refused to let him buy them dinner. Sadness engulfed him. How could he ever let her know his true feelings?

George squirmed in his seat. Janet’s damp eyes filled him with unease. Women scared him, especially independent women who refused to let him pay for their dinner. “Is ev-everything o-okay?” He bit his lip. Can’t even talk straight. How can I ever let her know my true feelings?

Notes: George’s squirming emphasizes his unease, and his internal monologue shows the sadness that engulfs him. Janet’s damp eyes show her emotion.

It was sad when the old lady coughed. I think her name was Margaret. Or maybe Minnie? Minnie. Yeah. Every time I heard her hork her lungs out, I felt sad . She worked hard — harder than any of the guys — in this dungeon of a Thipakrisian mine. I often wondered as I tossed and turned in my bed at night if we’d ever get back to Earth. The sad fact is that if we didn’t, I’d end up just like her in a few years. That saddened me most of all.

Whenever the old lady coughed, my gut clenched. I think her name was Margaret. Or maybe Minnie? Minnie. Yeah. Every time she horked her lungs out, I wanted to cry. She worked hard — harder than any of the guys — in this dungeon of a Thipakrisian mine. I often wondered as I lay awake at night, staring at nothing, if we’d ever get back to Earth. Then, the scratching in my throat would remind me that if we didn’t escape, I’d end up just like her in a few years. Frandelstax!

Notes: The narrator’s clenched gut shows his sadness. Ditto for his desire to cry, emphasized further by his lying awake at night and staring at nothing. Frandelstax — nothing like an invented sci-fi expletive to augment the ambience.

What makes you sad? Rejection slips? A broken coffeemaker? Looming deadlines?

Leverage that sadness in your writing.

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4 thoughts on “ 100+ Ways to Say “Sad”: A Word List for Writers ”

I liked this page because it had words I needed and has a lot of work put into it.

Thanks, Rayne.

Good luck with your writing!

What makes me sad? Unfriendly and hateful people. Lies and scams. Cruelty. Broken relationships. Social distancing. Panic-buying.

Yes, Robert, all excellent examples. The last few weeks have brought out the worst in some people.

Social distancing makes most people sad, but we’re not stuck at home — we’re safe at home.

Thanks for stopping by. Stay healthy!

120+ Sad Words List To Use In Your Writing

If you’re looking for a sad words list to help you convey melancholy in your writing, read on.

This comprehensive sad words list should help you improve your vocabulary and express your glum feelings adequately. As not everything you write will have a positive connotation, it’s important to know alternative ways to express sadness in your writing.

While you’re here, check out our list of mood words for literature .

Sad Words List Printable

Sad words list, what are other words for sad.

The word “sad” is most commonly used to express the feeling of being unhappy. But in many situations, there might be a better way to describe how you feel instead of using the aforementioned three-letter word. 

She was aggrieved at his harsh words.

John made an agonizing decision to leave her.

He may have seemed indifferent, but he was anguished on the inside.

Maria felt bad about hurting him that way.

Jack expressed his condolences to the bereaved family.

His death left her feeling bitter and lonely.

I don’t want to go outside; the weather is bleak and murky.

Jennie felt blue for weeks after her cat passed away.

She was so broken about the breakup, sobbing and refusing to leave the house for weeks at the time.

• Brokenhearted

Mike was brokenhearted when his wife suddenly died from a heart attack .

She is not easily cast down by harsh criticism and bad reviews of her work.

The room was cold and cheerless, with dimmed lights and floors made of stone.

• Comfortless

I feel comfortless when I see older people struggling to make ends meet.

• Crestfallen

She was crestfallen when she got laid off, but she tried hiding it.

He’s depressed, so everything seems dark and gloomy to him.

I feel dejected as I am angry that he left so suddenly without saying goodbye.

• Demoralized

The team was demoralized after losing the match again.

The refugees were living in deplorable conditions after fleeing the warzone.

The death of her child left her feeling depressed for life.

The town looks desolate after the war, with empty storefronts and barricaded doors.

She felt helpless and despairing after discovering she had terminal cancer .

Sarah found herself becoming increasingly despondent as her work was rejected over and over again.

The kids were devastated that the fair was canceled at the last minute.

Listening to her singing with that diabolical voice was painful.

• Disappointed

They were very disappointed when their daughter dropped out of college to start a modeling career.

• Discomposed

He was obviously discomposed during the speech; his voice was shaky and quiet.

• Disconsolate

While dealing with depression, I felt like the most disconsolate person alive.

• Discouraged

She was very discouraged from getting a bad grade on the exam.

• Disheartened

Jack checks his mailbox every day and returns, disheartened by the lack of letters from her.

With how things are going right now, the future seems bleak and dismal .

The army was dispirited after yet another lost battle.

She is still too distraught to talk to the police about the assault.

The news of his death distressed his mother deeply.

With the main character dying in the end, this movie is too disturbing for me to watch.

All the dogs had their doleful eyes pinned on me while I was enjoying my sandwich.

It’s pretty silent here, aside from an occasional dolorous cry of a wolf coming from the woods.

I was down for weeks after losing my job.

He also has bipolar disorder: sometimes fidgety, sometimes downcast .

• Downhearted

Instead of being downhearted about it, you should do something to change the outcome.

• Down in the dumps

I’ve been down in the dumps since my favorite team lost in the finals.

• Down in the mouth

Despite everyone having fun at the party, Jane seemed down in the mouth before eventually leaving early.

Unfortunately, the weather was gloomy and dreadful for the entire trip.

After living in this dreary apartment for so long, I’ve finally found a more lively place to move into.

Her eyes would get all droopy when seeing him struggle to do anything after the accident left him in a wheelchair.

His stories are elegiac, dramatic, and obsessed with death.

Christine will fall apart if her dad dies.

• Fall to pieces

My heart fell to pieces after I broke up with my partner of many years.

After the war, the house stood forlorn and empty for years before finally being renovated this year.

As soon as she addressed the group in a funereal tone, everyone knew what she was about to say.

The gloomy memories still haunt him to this day.

She seemed quite glum after receiving the news.

At the house, the mood was gray as everyone was hoping for news from the hospital. 

No plant will thrive in this grim and dark space.

• Grief-stricken

He was grief-stricken and inconsolable after his mother passed away.

The grieving family is still battling to come to terms with their loss. 

I was gutted when they left.

Her hangdog face said it all: nothing has gone according to plan.

• Heartbroken

Obviously, she was heartbroken after he left her.

• Heartrending

Seeing his parents struggling to make ends meet while he lived a luxurious life in the city was heartrending .

The kids were heartsick to learn of their parents’ divorce.

• Heartsore 

They had no idea how heartsore she felt after the breakup.

• Heart-wrenching

She couldn’t hold back tears while reading his heart-wrenching letter.

• Heavy-hearted

Mike had to put on his best smiley face even though he felt heavy-hearted .

I felt so hopeless after the doctor told me the disease was untreatable.

I don’t think he’d want to go out with us; he’s still hurting about the loss of his mother.

• Inconsolable

The kids were inconsolable after the trip to Disneyland was canceled.

I was in agony from the news after the bus crash.

• In the doldrums

He’s been in the doldrums ever since he lost his job.

• In the dumps

I feel like I’m down in the dumps whenever I spend winter in the mountains.

Jane was in tears after finding out the news about her brother.

Finally, the papers are signed, and she’s out of that joyless marriage.

• Knocked sideways

She was knocked sideways by her father’s illness.

After three relatively upbeat songs, he switched to his lachrymose repertoire.

Nelson’s lack of understanding is lamentable .

She languished in her home alone for years before getting help.

The class was silent while he read his leaden essay about the hardships of his family.

All that rain made me feel listless .

You shouldn’t tell her such depressing things when she’s already feeling low .

• Low-spirited

No matter what I said or did, Jack was too low-spirited to be cheered up.

He looked so lugubrious, as if he was about to cry at any moment.

• Lump in one’s throat

I had a huge lump in my throat from watching this sad movie.

Since you have no common sense, I’ll leave you to your megrim .

• Melancholic

All of his literary work has a melancholic tone to it.

Mitch felt miserable after Jane moved out with the kids.

She often gets moody and distant after watching the movies about the war, as her father died in it.

The things he’s saying are quite morbid and depressing.

I don’t think Dad would want us to be mournful.

He felt oppressed by the gloomy ambient in the house.

• Out of sorts

I’ve been out of sorts all day, not willing to get out of bed.

Mary seemed pensive and quiet, not interacting with anyone in the room.

• Pessimistic

The song has a beautiful melody, but the lyrics end on a pessimistic and gloomy note.

They looked piteous , like drowned mice.

He looked horrible in those pitiable clothes.

Left alone in the open, the dog let out a plaintive cry.

The wrinkles on our faces are a poignant reminder that time passes.

• Reduced to tears

This movie got me reduced to tears.

She looked rueful while telling us her marriage was a huge mistake.

Danny was saddened to see her fall apart after her brother’s death.

• Sick at heart

He was sick at heart to think he’d never see her again.

It’s sickening to see such cruelty exist in the world, and you can’t do much about it.

The whole group was in a somber mood after learning of her fate.

She managed to put a smile on her face, but everyone knew how sorrowful she was.

He was too spiritless to say yes to anything I suggested.

The entire room lapsed into a sullen silence after hearing the tragic news.

She was sunk after the whole affair with the cheating husband.

• Take something hard

Jamie really took it hard when Diane left.

Jake sounded tearful on the phone.

• Tear-jerker 

I don’t want to watch another tear-jerker movie. Let’s watch a comedy instead.

While it started happily, the ending of the song was tragic.

He wasn’t as triste as I expected him to be about it.

It’s obvious that Jessie was troubled about something.

I’m uneasy about the future without him in my life.

Everyone was unhappy with the budget cuts.

• Unfortunate

What happened to her was quite unfortunate .

She’s still upset about the news she received over the phone.

According to customs, the wailing mourners should gather around the coffin.

She played a wistful song about a long-lost love.

The ending of the movie made him all weepy .

• Weltschmerz

She was struck by a sense of weltschmerz as she discovered that adult life is not as fun as she thought it would be.

Don’t be so woebegone , I can solve the issue.

The dog let out a woeful cry as the owners left the house.

• Wretched 

Jane felt so wretched because she thought they’d never see each other again.

Check out our list of poetic words and give meaning to your verse.

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Other than setting up a sad situation, having characters be emotional and heartfelt words being said, I’m at kind of a loss as to how to make a reader feel as though they’re the main character. Any tips?

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How to Describe a Broken Heart in Writing

By Brittany Kuhn

Does a couple in your novel breakup ? Let us help you write this incident. Read on to learn how to describe a broken heart in writing.

• Hard to deal with emotionally because it has been caused or causes distress.
• Quite serious or important.
• Large number or amount.

“Her broken heart weighed so heavily on her that she could barely make herself move, much less feel.”

“The whole ordeal made his broken heart feel even heavier than before.”

How it Adds Description

When we get our heart broken, the sadness that comes after can feel like a burden. Using the word heavy to describe a broken heart really highlights the physical weight of sadness. The reader can imagine how difficult the character must find it to continue with daily life in spite of their broken heart.

2. Bleeding

• Feeling melancholy or stress.
• Sometimes used as an intensifier , similar to really or extremely .

“She could almost feel the sadness bleeding from her broken heart whenever their song came on the radio.”

“The grief bleeds from my broken heart every time I think of Jimmy and the car accident.”

Saying that a character’s broken heart bleeds shows the reader that the character cannot contain their sadness. Bleeding can also be used to show an extra intensity to the sadness, as if it runs through their veins and cannot be eliminated so easily.

Lacking substance, purpose, life or value.

“She wasn’t just broken hearted; she was completely empty .”

“It was hard to tell if his broken heart made him feel empty or if it was the lack of sleep and food.”

Sadness doesn’t always cause a lot of emotional outbursts. Sometimes a broken heart simply drains the energy from a person and leaves them emotionless. Describing that sadness as empty will help the reader feel physically how the broken heart has stolen the character’s zest for life.

Feeling of pain , either physical or emotional.

“She noticed that her broken heart ached less and less every time she saw him with his new wife.”

“I grabbed my chest at the ache he caused me, as if he had literally broken my heart with his words.”

Aching highlights for the reader how much the sadness is hurting the character. Like a real broken bone, a broken heart will hurt physically from the injury. However, aching also signals the healing process has begun so maybe an aching broken heart is slowly start to mend back together.

5. Bitterness

• Acting offensive or upsetting.
• Feeling an intense or severe reproach, sadness or hostility.
• Full of scorn and spite.

“There was no joy or happiness to be found inside him anymore; his broken heart left him feeling only bitterness and spite.”

“What was a broken heart if not bitterness replacing optimism?”

When someone breaks your trust and your heart, it makes you question everything new person or opportunity that comes after. By describing the character as bitter , you are highlighting the distrust they now feel because of their broken heart.

Feels like it will last forever .

“It felt like this broken heart was endless ; with every song he heard, every smile he saw, his heart would break even more.”

“Was the agony of his broken heart as endless as time itself?”

Right after our hearts are broken, we feel like we’ll never find happiness again. Using endless to describe that feeling of hopelessness and despair that follows a broken heart shows the reader the character’s pessimistic state of mind in that moment.

7. Despondent

Full of misery, depression , or disappointment.

“She started at him despondently while her heart broke into tiny pieces.”

“I couldn’t help but notice the despondent look on her face; she wasn’t doing such a good job of hiding her broken heart as she thought.”

Despondent suggests that a person has succumbed to their sad situation, whether that be because they’ve lost all their money or their home or their family. By describing your character as despondent , you are showing that their broken heart is beyond repair, and they are affected by it in the deepest way.

8. Agonizing

Causing great pain ; torturous; cruel.

“Every time I heard her voice, I could feel the agony of my broken heart all over again.”

“The intensity of my broken heart was agonizing; I felt like I couldn’t move for the pain.”

Sadness, especially sadness caused from a broken heart, can cause a person physical pain. If you use agony or agonizing to describe how the broken heart has physically affected the character, your reader can imagine the emotional pain they must be feeling, as well.

• Lonely or abandoned.

“When he broke her heart, she became the forlorn and anxious girl she is now.”

“Why would I look anything but forlorn ? She broke my heart and left me to die!”

If you want to show how a broken heart is affecting the character, use forlorn to describe their sad, depressed demeanor as it suggests someone who just never looks happy, even when they try to smile. The reader can imagine just how painful the broken heart is and how much it hurts the character.

10. Unmendable

Unable to be fixed or repaired .

“She felt as if her broken heart was unmendable ; nothing she could do lessened the pain.”

“There were certain actions that would cause an unmendable broken heart. He happened to do three of them last night.”

By describing a broken heart as unmendable , you are stressing to the reader that whatever has caused the broken heart is so bad that it cannot be undone. The reader can empathize with the character’s pain and distrust because they can also imagine a time when they felt their broken heart was never going to get better.

eduKate Tuition Centre

The Art of Describing Feelings in Creative Writing: When and How to Use Emotive Language

Here is a table with 50 vocabulary words for feelings, their meanings, and usage examples:

Here’s another 25 vocabulary words once you have mastered the above list for advancement of Emotions for Creative Writing:

This is a continuation of our Creative Writing Course, Chapter 15:  Primary PSLE Creative Writing: Emotions

Introduction

The craft of creative writing revolves around evoking emotions in the reader by authentically portraying the feelings and experiences of characters. By using words that describe emotions, writers can immerse readers in the world they have created and elicit empathy or provoke thought. This essay explores the nuanced process of utilizing emotive language in creative writing, discussing the optimal timing and techniques for describing feelings effectively and engagingly. The understanding and application of these principles are essential in crafting compelling narratives that resonate with readers, regardless of their background or expertise.

For more Vocabulary Practices, Check out our full Vocabulary Lists.

Back to our main article:  English Primary Overview

I. The Importance of Emotional Resonance in Creative Writing

Emotive language serves as a crucial tool for forging connections with readers. The creation of reader empathy and identification relies on the ability of a writer to effectively convey a character’s emotional state. Through vivid and believable emotional descriptions, a writer can suspend disbelief and invite readers into the world they have crafted. Establishing emotional stakes is another essential component of engaging storytelling, as it encourages readers to invest in the characters and their journey.

In character development, emotional depth and psychological complexity are vital. Emotional arcs allow for character growth and reveal motives and conflicts that drive the narrative. An authentic portrayal of emotions lends credibility to characters and makes them relatable and memorable.

Emotional pacing is a significant aspect of successful creative writing. Striking a balance between emotional intensity, maintaining emotional beats and rhythm, and eliciting the desired emotional responses from readers ensures that a story remains captivating and impactful.

For the latest in SEAB PSLE English Syllabus,  here.

II. When to Use Words that Describe Feelings in Creative Writing

Emotional relevance is a primary factor in determining when to introduce emotive language. Emotional context and narrative purpose guide the writer in discerning subtleties in emotional experiences and avoiding excessive emotional exposition. Integrating emotional descriptions organically while aligning them with narrative structure ensures that the emotional development of characters mirrors plot progression.

Timing and pacing play crucial roles in deciding when to incorporate emotive language. Ensuring that emotional descriptions align with the narrative’s flow contributes to a seamless and engaging reading experience.

Emotional variety is vital in preventing monotonous or repetitive emotional states. A range of emotions lends authenticity to characters and their responses, making the narrative more relatable and captivating.

III. How to Use Words to Describe Feelings in Creative Writing

“Show, don’t tell” is a central principle in describing emotions effectively. Implicit emotional descriptions are often more impactful, as they allow readers to deduce a character’s emotions based on their actions, reactions, body language, and tone. Setting can also play a crucial role in conveying emotions implicitly, creating a vivid and immersive atmosphere.

Word choice and specificity are key components in emotive language. Using precise language ensures emotional accuracy, while figurative language can evoke powerful emotional images. Sensory details can further enhance emotional descriptions, allowing readers to experience emotions more vividly.

Balancing emotional intensity is essential in maintaining reader interest and engagement. Modulating emotional language, contrasting intense emotional moments with lighter scenes, and establishing emotional patterns and rhythms contribute to an emotionally compelling narrative.

Or back to our  Vocabulary List

IV. The Emotional Palette: Understanding the Range of Human Emotions

A thorough understanding of the psychology of emotions is necessary for effective emotional description. Writers must be aware of basic emotions, their complexities, combinations, and nuances. Additionally, recognizing cultural and individual differences in emotional expression allows for more authentic and relatable portrayals.

Developing a rich emotional vocabulary involves exploring synonyms, shades of meaning, and recognizing subtle distinctions in emotional language. Utilizing less common or unexpected words can make emotional descriptions feel fresh and impactful.

Emotional dynamics in relationships are essential aspects of storytelling. The interplay of emotions between characters, emotional growth and evolution within relationships, and the revelation of character motives and conflicts through emotional interaction all contribute to a more engaging and immersive narrative.

V. Crafting Emotional Scenes: Techniques for Immersive Storytelling

Creating an emotional atmosphere involves establishing mood through setting and description, using symbolism and imagery to enhance emotional storytelling, and manipulating narrative pace to heighten emotions. These techniques can greatly impact the reader’s emotional engagement with the story.

Dialogue and interior monologue are vital tools in conveying emotions. Speech patterns and tone can reveal a character’s emotional state, while thoughts and introspection can provide insight into a character’s emotions that may not be apparent from their actions. Balancing dialogue and monologue with emotional action and description ensures a well-rounded emotional narrative.

The narrative voice and style also play essential roles in emotional storytelling. The point of view can greatly influence the reader’s emotional experience, and crafting a distinctive narrative voice that reflects the characters’ emotions can provide a more immersive experience. Adapting narrative style to enhance emotional resonance further contributes to a compelling emotional narrative.

VI. Emotional Authenticity and Empathy: The Ethical Considerations of Creative Writing

Emotional truth and vulnerability are critical components of honest emotional representation. Writers must respect the emotional experiences of others while drawing on their own emotions in the creative process. Authenticity and vulnerability contribute to the emotional impact and ethical integrity of a story.

Addressing sensitive topics and emotions requires careful consideration of emotional triggers and potential harm. Developing emotional sensitivity and cultural awareness can help writers navigate these issues responsibly. Writers must be conscious of their responsibilities in portraying emotional experiences and strive for accuracy and respect.

Fostering empathy through creative writing is a powerful means of bridging emotional gaps and promoting understanding and compassion. Authentic emotional representation allows readers to relate to characters and their experiences, fostering a sense of emotional well-being and contributing to social harmony.

The intricate process of using words to describe feelings in creative writing demands a profound understanding of human emotions, a broad emotional vocabulary, and a keen awareness of the ethical implications of emotional representation. Writers who master these elements can create deeply engaging, emotionally resonant narratives that captivate readers and foster empathy. Ultimately, the art of describing feelings in creative writing serves not only to enrich our literary experiences but also to deepen our emotional connections and promote a more compassionate, empathetic world.

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• Mar 17, 2022

Good phrases for primary school composition - 15 phrases to describe sadness

This blog shares 15 good phrases to describe sadness for primary school composition writing. Good phrases can make or break your writing. It allows your readers to visualise how a character is feeling. Imagine this, by stating, ' John is feeling sad.' We do not see a clear mental picture on how he is feeling. However, if we say, ' Tears rolled down John's cheeks as he reached for another tissue paper, ' We are able to visualise better. This is the secret sauce of good writing! We create interactive quizzes to continuously quiz our students to help them memorise key phrases. We put a lot of effort in gamifying many of our quizzes. It helps our students absorb material much faster and better. We pride ourselves in making creative writing a wonderful learning experience.

We continuously post useful phrases for primary school compositions.

Check this link to learn key phrases for fear.

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Let's jump right in! Here are 15 good phrases to describe sadness for primary school composition writing. These phrases are suitable for Primary 4, 5 and 6 students.

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Here is a list of idioms to describe sadness

https://www.myenglishteacher.eu/blog/idioms-for-being-afraid/

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