how to describe a car crash in creative writing

Capturing Chaos: Describing a Car Crash in Creative Writing

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

Introduction: Recreating the Chaos: How to Write a Car Crash Scene That Engages Your Readers

1. setting the stage: capturing the atmosphere and surroundings of the crash, 2. vivid imagery: making each detail count in describing the collision, 3. utilizing sensory descriptions: engaging your reader’s senses to evoke realism, 4. emotions in chaos: portraying the impact on characters and readers alike, 5. dynamic action: crafting an engaging and realistic sequence of events in the crash scene, 6. reflecting the aftermath: lane of dust and shattered glass, 7. impactful dialogue: portraying the reactions and communication amidst chaos, 8. writing with purpose: conveying the message and theme through the car crash scene, frequently asked questions, closing remarks.

Writing a car crash scene is no easy task. It requires careful thought and precision to recreate the chaos and evoke emotional engagement from your readers. In this post, we will explore some key techniques that can help you craft a powerful car crash scene that will leave your readers on the edge of their seats.

1. Set the stage: Before the crash occurs, it’s crucial to create a vivid picture of the scene. Describe the weather conditions, the time of day, and any other relevant details that set the tone for the impending chaos. This sets the stage for your readers and prepares them for the impact that is about to unfold.

2. Use sensory details: Engage your readers’ senses by incorporating descriptive language . Go beyond visual cues and describe the screeching tires, the pungent smell of burning rubber, or the deafening sound of metal crunching against metal. By appealing to multiple senses, you can immerse your readers in the moment and make the scene feel more authentic.

When diving deep into the investigation of an aviation accident, one crucial aspect that demands attention is capturing the unique atmosphere and surroundings at the crash site. This allows investigators to gather valuable information about various factors that might have contributed to the incident. Here’s a closer look at how professionals go about setting the stage to capture the essence of the crash.

First and foremost, investigators meticulously document the wreckage’s immediate surroundings. Carefully examining the terrain, vegetation, and any barriers or obstacles present provides essential contextual information. This observation could uncover crucial clues about how the crash unfolded, such as whether the aircraft experienced any difficulties maneuvering due to environmental factors or external interference. Additionally, documenting the weather conditions at the time of the accident plays a significant role in understanding the crash dynamics. Elements like visibility, wind patterns, and precipitation can shed light on potential weather-related complications that may have impacted the flight.

• Photographs of the crash site from various angles help preserve the scene in its original state and provide an in-depth visual record.
• Drawing topographical sketches of the area assists in identifying factors that may have affected the aircraft’s trajectory.
• Collecting environmental samples, such as soil and vegetation, enables investigators to identify foreign substances that could be relevant to the incident.

By painstakingly capturing the atmosphere and surroundings of the crash, investigators can create a comprehensive picture of the circumstances leading up to the accident. These details help piece together the puzzle of what went wrong, ultimately paving the way for improved safety measures and preventing future incidents.

In order to effectively capture the essence of a collision, it is crucial to employ vivid imagery that transports the reader right into the heart of the action. By providing intricate details and utilizing sensory descriptors, you can paint a picture so vivid that your audience can almost feel the impact themselves. Here are some key strategies to make each detail count in describing a collision:

• Engage the senses: Evoke a sensory experience by describing not only what was seen, but also what was heard, smelled, and felt immediately before and after the collision. The jarring screech of tires, the acrid smell of burning rubber, and the bone-rattling impact will help immerse your readers in the moment.
• Focus on precise timing: Capture the exact sequence of events leading up to the collision. Describe the split-second decisions that were made, the frenetic movements, and the suspense that built up just before impact. This will create anticipation and intensify the experience for the reader.
• Highlight the aftermath: Paint a detailed picture of the aftermath in the aftermath of the collision. Illustrate the twisted metal, shattered glass, and the chaotic scene that ensues. Laying out the consequences of the collision will enhance the realism and impact of your description.

Mastering the art of vivid imagery will add depth and authenticity to your writing, allowing your readers to fully immerse themselves in the collision you are describing. By engaging their senses, focusing on precise timing, and highlighting the aftermath, you can create an evocative and memorable description that leaves a lasting impression.

When it comes to creating a realistic and engaging piece of writing, utilizing sensory descriptions is a powerful tool that should not be overlooked. By appealing to your reader’s senses, you can transport them directly into your world and make the experience come alive. So, how can you effectively engage your reader’s senses and evoke a sense of realism in your writing? Let’s take a closer look.

1. Visual Descriptions: Paint a vivid picture in your reader’s mind by describing the scene using rich visual imagery. Use colorful and descriptive language to help your reader visualize the setting, characters, and objects.

• For example, instead of simply saying, “The sun was shining,” you could say, “The golden rays of the sun beamed through the thick foliage, casting a warm glow on the lush green meadow.”
• Use similes and metaphors to create vivid visual imagery. For instance, “Her voice was as smooth as velvet” or “The tall buildings loomed over the city like giants.”

2. Auditory Descriptions: Engaging your reader’s sense of hearing can greatly enhance the realism of your writing. Describe the sounds in your scene to create an immersive experience for your reader.

• Instead of simply mentioning that a character was crying, you could describe the sound of their tears hitting the floor, the sniffles, and the muffled sobs.
• Include onomatopoeic words to reproduce sounds, such as “the crackling fire,” “the babbling brook,” or “the booming thunder.”

As readers, we immerse ourselves in stories to experience a range of emotions, and few things grip us more profoundly than chaos. When an author skillfully portrays the impact of chaos on characters, it resonates with readers on a visceral level, evoking empathy, fear, and anticipation. The interplay of emotions in chaotic situations brings a depth to characters that we can relate to, making their struggles and triumphs all the more meaningful.

In chaos, a character can experience an array of emotions, from despair and confusion to determination and resilience. By delving into this emotional rollercoaster, authors can create multi-dimensional characters that elicit emotional investment from the readers. The skill lies in crafting an authentic portrayal of emotions, allowing readers to understand the turmoil and psychological impact the characters endure.

• Empathy: Chaos in storytelling provides an opportunity for readers to empathize with characters who face unpredictable and adverse circumstances. Our own experiences of chaos and instability in life allow us to connect with the characters at a deeper level, magnifying our emotional investment.
• Anticipation: Chaos generates a sense of anticipation as readers are kept on the edge of their seats, eagerly wondering how characters will navigate the mayhem. This anticipation creates a heightened emotional state, making the story more engaging and unpredictable.
• Fear: Chaos often brings fear along with it. When characters face uncertain situations, formidable challenges, or daunting foes, readers can experience an adrenaline rush, their hearts racing in sync with the characters’ perilous journeys.

In order to create a captivating and realistic sequence of events in the crash scene, it is important to engage the audience and keep them invested in the story. Here are some dynamic actions you can take to achieve this:

1. Build tension: Start by setting the scene and creating a sense of anticipation. Use descriptive language to evoke emotions and draw the readers into the crash scene. Make them feel like they are right there, witnessing the chaos unfold.

2. Use sensory details: Paint a vivid picture by incorporating sensory details such as the screeching of tires, the smell of burning rubber, and the taste of adrenaline in the air. These details help to immerse the readers in the crash scene and make it more believable.

3. Introduce unexpected twists: Surprise your audience by introducing unexpected elements to the crash scene. Perhaps a bystander rushes to the aid of the injured, revealing a hidden hero, or a small explosion adds a new layer of danger and excitement. These twists add depth to the story and keep the readers on the edge of their seats.

4. Include diverse perspectives: To make the crash scene feel realistic, include perspectives from different characters involved. This allows the readers to see the event from multiple angles, adding complexity and authenticity to the sequence of events.

As the dust begins to settle and the chaos subsides, one cannot help but be awestruck by the sight before them. The aftermath of the recent catastrophic event paints a grim picture of destruction and despair. Rows and rows of shattered glass and debris line the once vibrant alley, creating an eerie scene that evokes a peculiar blend of melancholy and curiosity.

Walking through this desolate lane, it becomes apparent just how fragile our surroundings can be. The countless shards of broken glass, irrevocably transformed from their former form, reflect the harsh reality that life can change in an instant. Each fragmented piece holds a story of its own, a testimony to the sheer force that has taken its toll. Although a bleak sight, it also serves as a powerful reminder of our resilience and the strength to rebuild.

• Reflection: The shattered glass mirrors the fragility of life, reminding us to appreciate every moment.
• Glimpse into Chaos: The devastated alley provides a window into the chaos that unfolded during the event.
• Symbolic Breakdown: The shattered glass acts as a symbol of the destruction and transformation caused by the catastrophe.
• Resilience in Debris: Amidst the destruction, the debris reveals our determination to rebuild and move forward.

When it comes to writing impactful dialogue, the key lies in portraying genuine reactions and communication amidst chaos. Whether you are crafting a thrilling action scene or depicting intense emotional moments, creating dialogue that resonates with readers is crucial for an engaging story. Here are some tips to help you master the art of creating impactful dialogue:

• Show, don’t tell: Instead of explicitly stating characters’ emotions, let their dialogue and actions reveal their true feelings. This allows readers to experience the chaos firsthand, making the scene more immersive.
• Inject tension: Chaos often brings out the best and worst in people. Develop conflicts, disagreements, and clashes between characters to heighten the drama and create an intense atmosphere.
• Vary dialogue length and pace: In chaotic scenes, dialogue should mirror the frenetic energy. Mix short, snappy exchanges with longer, more contemplative responses to create a natural rhythm that keeps readers on their toes.

Furthermore, it is important to give each character a unique voice and stay consistent with their personalities in chaotic situations. This ensures that readers can easily distinguish between characters and understand how they react under pressure. Remember, impactful dialogue not only advances the plot but also adds depth to your characters and maintains the reader’s interest. By mastering the art of portraying reactions and communication amidst chaos, you’ll be able to captivate your audience and keep them eagerly turning the pages.

In order to effectively convey the message and theme through a car crash scene, it is essential to pay attention to the details and choose the right words and descriptions. Firstly, it is important to set the scene by vividly describing the wreckage, the twisted metal, shattered glass, and the chaos that ensues. By using sensory language and painting a clear picture, the reader can be immersed in the intensity of the moment.

Secondly, focus on the emotions and reactions of the characters involved. Highlight their fear, shock, and disbelief to evoke empathy and bring the scene to life. Utilize descriptive language to express their trembling hands, racing heartbeats, and the silence that follows the impact. This allows readers to connect with the characters on a deeper level and grasp the gravity of the situation.

Additionally, when writing with purpose, it is crucial to consider the broader message and theme the car crash scene is meant to convey. Is it a cautionary tale about the dangers of reckless driving? Is it a metaphor for the fragility of life and the unexpected turns it can take? By aligning the actions and consequences with the intended theme, the message will resonate more powerfully with the readers.

To enhance the impact of the scene even further, incorporate dialogue between the characters involved. Use italics to emphasize their thoughts and fragmented sentences to create tension. This will add a layer of authenticity to the scene and allow readers to experience the raw emotions firsthand.

In conclusion, crafting a car crash scene with purpose requires attention to detail, emotional depth, and alignment with the intended message and theme. By carefully choosing words, incorporating sensory description, and focusing on character reactions, the scene can be made compelling and memorable for readers.

Q: What is the purpose of “Capturing Chaos: Describing a Car Crash in Creative Writing”? A: The purpose of this article is to guide writers in effectively describing a car crash in a creative writing piece.

Q: Why is it important to accurately describe a car crash in creative writing? A: Accurate and vivid descriptions of car crashes can elevate the intensity and impact of a narrative, creating a more engaging experience for readers.

Q: How can descriptive language enhance the portrayal of a car crash? A: Descriptive language allows writers to vividly depict the chaos, emotions, and sensory details involved in a car crash, making the scene more memorable and compelling.

Q: What are some sensory details that can be utilized when describing a car crash? A: Sensory details such as screeching tires, the smell of burning rubber, shattered glass, sirens blaring, and the taste of fear can significantly enhance the description of a car crash.

Q: Are there any specific techniques writers can employ when describing a car crash? A: Yes, writers can use techniques such as metaphors, similes, onomatopoeia, and personification to create more impactful and dynamic descriptions of a car crash.

Q: Are there any guidelines to follow when writing about such a sensitive topic? A: Yes, it is important to approach the topic with sensitivity, avoiding insensitive language, gratuitous violence, or graphic content that may offend or upset readers.

Q: How can writers convey the emotional impact of a car crash? A: Writers can convey the emotional impact of a car crash by exploring the internal thoughts and feelings of characters involved, conveying their shock, fear, or grief through their actions or reactions.

Q: Can you provide an example of an effective car crash description? A: “The collision sent shards of glass dancing through the air, catching the glimmer of the streetlights like a macabre ballet. The screeching metal tore through the calm night, drowning out the desperate pleas of brakes. In an instant, chaos took hold, as the twisted mangle of steel and shattered glass whispered tales of lives forever altered.”

Q: What should writers aim to achieve when describing a car crash in their writing? A: Writers should strive to create a vivid and immersive experience for readers by painting a picture with their words, capturing the chaos, danger, and impact of a car crash through imaginative and evocative descriptions.

Q: Are there any additional resources that writers can refer to for further guidance? A: There are plenty of online resources and creative writing guides available that offer further insights and techniques to effectively describe car crashes in fiction.

In conclusion, capturing the chaos of a car crash in creative writing requires vivid description and attention to detail, allowing readers to experience the event through the author’s words.

Would You Rather Writing Prompt: Choose Your Creative Path

Lucid Brainstorming Techniques: Enhance Clarity and Creativity

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Reach out to us for sponsorship opportunities.

Welcome to Creative Writing Prompts

At Creative Writing Prompts, we believe in the power of words to shape worlds. Our platform is a sanctuary for aspiring writers, seasoned wordsmiths, and everyone. Here, storytelling finds its home, and your creative journey begins its captivating voyage.

© 2024 Creativewriting-prompts.com

Writing Nestling

Describing A Car Accident in Writing (12 Best Ways)

Table of Contents

Describing A Car Accident in Writing

Describing A Car Accident in Writing: Describing a car accident in writing is more than recounting events; it’s an art form that demands the writer’s skill and precision to immerse readers in a vivid and emotionally resonant experience.

Whether you are crafting a report for legal purposes, weaving a narrative for a creative piece, or conveying the harrowing realities of a real-life incident, the power of your words can transport the reader into the heart of the collision.

This guide explores the nuanced facets of describing a car accident in writing, from the pre-writing preparation that sets the stage, to the selection of descriptive elements that evoke sensory experiences, and the fine-tuning of language and style that leaves a lasting impression.

By embarking on this journey, you’ll learn to transform a seemingly mundane event into a compelling and unforgettable narrative, allowing your readers to not just read about the car accident but to live it.

Describing a Car Accident in Writing

Describing a car accident in writing involves providing a detailed and objective account of the incident. Here’s a step-by-step process on Describing A Car Accident in Writing:

Begin with a clear introduction

Start by introducing the accident, including the date, time, and location. Mention the vehicles involved and any other relevant information, such as weather conditions or road conditions.

Describe the sequence of events

Provide a chronological account of how the accident unfolded. Start with what led to the accident, such as the actions of the drivers or any contributing factors.

Identify the vehicles and drivers

Describe each vehicle involved in the accident, including their make, model, color, and license plate numbers. Mention the names of the drivers and their roles in the accident (e.g., the at-fault driver , the victim, etc.).

Explain the point of impact

Detail where and how the vehicles collided. Use specific terms such as “rear-end collision,” “side-swipe,” or “T-bone” to accurately describe the impact.

Provide information on injuries

If there were injuries, describe them in a factual manner. Include the names of the individuals involved, the extent of their injuries, and any immediate actions taken, such as calling for medical assistance.

Document property damage

Describe the damage to the vehicles, noting the extent of the damage and whether any parts of the cars were dislodged or scattered on the road.

Include witness statements

If there were witnesses to the accident, record their statements, including their names and contact information. Their observations can provide valuable insights into the events leading up to the accident.

Mention police involvement

If law enforcement responded to the scene, provide details about their presence, the officer’s name, badge number, and any actions they took, such as issuing citations or filing reports.

Include any contributing factors

Describe any factors that may have contributed to the accident, such as excessive speed, distracted driving, adverse weather, or road conditions. Be objective and factual in your assessment.

Conclude with a summary

Summarize the key details of the accident and its consequences. Mention any immediate actions taken, such as the exchange of insurance information or the towing of vehicles.

Attach any relevant documents

If you have photographs of the accident scene, the vehicles involved, or any related documents (such as insurance information), include them as attachments to your written description.

Be clear and concise

Write your description in a clear and concise manner, avoiding personal opinions, emotions, or biases. Stick to the facts and provide an accurate account of the accident.

Remember that when describing a car accident in writing, it’s important to maintain objectivity and accuracy, as the information may be used for insurance claims, legal proceedings, or police reports.

Pre-Writing Preparation

Pre-writing preparation is like setting the stage for a grand theatrical performance of words. It’s where the writer dons their director’s hat, gathers the props of knowledge, and dims the lights to cast the perfect ambiance.

Much like a detective, you delve deep into the evidence, scrutinizing accident reports, interviewing witnesses, and absorbing the intricate details of the scene.

It’s the moment you unlock the doors to your imagination, peering inside to discover the characters, the plot twists , and the untold stories waiting to be revealed.

As the curtain rises on this literary stage, you’ve armed yourself with knowledge, knowing your audience, and defining the narrative style – all in a symphony of preparation that transforms a simple car accident into an epic tale of intrigue and emotion.

Research and Gather Information

Research and gathering information is the foundational step in the writer’s quest to bring a car accident to life through words.

It’s akin to becoming a detective in pursuit of the most elusive clues, delving into the labyrinth of facts and details that surround the incident.

With unwavering determination, you scour accident reports, sift through witness statements, and scrutinize official records.

Every document becomes a piece of the puzzle, each interview a revelation, as you unearth the intricacies of the collision.

This painstaking process of fact-finding not only lends authenticity to your narrative but also ensures that every element is meticulously documented, ultimately crafting a vivid and truthful account of the car accident that will resonate with your readers.

Identify the Target Audience

Identifying the target audience is the compass that guides the writer’s journey when describing a car accident in writing.

Just as a skilled navigator must understand the destination, the writer must grasp the preferences, needs, and expectations of the readers who will embark on this literary voyage.

Are you addressing legal professionals seeking a comprehensive accident report, or perhaps a general audience interested in the human experiences intertwined with the collision? By defining the audience, you can tailor the tone, depth, and level of technical detail in your narrative.

This keen awareness empowers you to choose the words and perspective that will resonate most deeply, ensuring that your account of the car accident strikes a chord with the hearts and minds of those who matter most.

Structure and Organization

Structure and organization are the architectural blueprints of your narrative, the invisible scaffolding that turns words into a symphony.

Think of it as the choreography of your storytelling dance; the writer is the choreographer, leading the reader through an intricate routine of plot, setting, and emotion.

It’s the promise of a well-ordered sequence, a crescendo of details, the subtle art of building anticipation and delivering revelations.

Just as a magician unveils their tricks one step at a time, structure and organization are your secrets to weaving a tapestry of words that keeps the reader spellbound, turning pages with eager anticipation to see how the car accident unfolds in a harmonious, unforgettable performance.

Start with a Powerful Hook

Starting with a powerful hook is the writer’s equivalent of casting a captivating spell, a literary incantation that lures the reader into the enchanting world of your narrative.

It’s that electrifying opening, the irresistible bait that seduces the mind and heart, setting the tone for the entire story.

Whether it’s a shocking revelation, a poignant reflection, or an intriguing question, the hook acts as a portal, drawing readers in and compelling them to venture further into the tale of the car accident.

With this seductive invitation, you forge an unbreakable connection with your audience, igniting their curiosity and ensuring they remain spellbound, turning each page with eager fascination.

Establish the Setting

Establishing the setting is the canvas upon which the writer paints the world of the car accident, providing the backdrop against which the drama unfolds.

It’s the brushstroke of words that crafts the atmosphere, capturing the essence of time and place. The setting is not just a mere backdrop; it’s a silent character that influences the entire narrative.

Whether it’s a bustling urban intersection under a scorching sun or a quiet country road shrouded in mist, the setting has the power to evoke mood and emotion.

Through descriptive prose, the writer invites the reader to step into this meticulously painted world, to feel the pavement underfoot, to sense the humidity or chill in the air, and to be transported into the very heart of the car accident, making the experience vivid, immersive, and unforgettable.

Descriptive Elements

Descriptive elements are the alchemist’s potions of the writer’s craft, concocting a brew that transmutes mere words into a sensory symphony.

They are the artist’s palette, allowing you to paint with the vibrant hues of sight, sound, smell, touch, and even taste.

With these tools at your disposal, you can transport the reader directly into the heart of the car accident, enabling them to see the shattered glass glistening in the sunlight, to hear the screeching tires, to smell the acrid tang of burnt rubber, and to touch the raw emotions that hang heavy in the air.

It’s through these descriptive elements that you awaken the senses, making your narrative an immersive experience where words transcend the page and become a living, breathing world of sensations and emotions that the reader can almost touch, taste, and feel.

Sensory Details

Sensory details are the writer’s secret arsenal, the keys that unlock the doors to the reader’s imagination and emotions.

They transform a simple narrative into an immersive experience, letting readers not just read but truly live the story.

It’s the sparkle of sunlight on shattered glass, the eerie hum of sirens in the distance, the lingering scent of gasoline in the air, and the palpable tension that lingers on the skin.

These details are the conduit to the reader’s senses, transporting them into the very heart of the car accident.

Sensory details bridge the gap between words on a page and the full-sensory experience, allowing readers to taste the fear, touch the tension, hear the chaos, see the aftermath, and breathe in the atmosphere of the scene.

In this tapestry of sensations, the car accident becomes more than a story; it becomes a vivid, unforgettable reality etched into the reader’s mind.

Vivid Imagery

Vivid imagery is the artist’s palette of the writer, a symphony of words that paints pictures in the reader’s mind.

It’s the ability to craft scenes so lifelike that they leap off the page and into the reader’s imagination. When you employ vivid imagery in describing a car accident, you’re not just narrating an event; you’re creating a living, breathing tableau.

The crushed metal becomes a contorted sculpture, the skid marks transform into fiery calligraphy on the road, and the emergency lights flicker like neon signs in a surreal night.

With each carefully chosen word, you guide the reader through the intricate tapestry of the accident scene, crafting a mental diorama that is more than words – it’s an experience, an invitation to step into the world you’ve woven with your literary brush, making the car accident a moment etched indelibly in the reader’s memory.

Language and Style

Language and style are the chameleons of the writer’s toolkit, the transformative magic that allows words to shape-shift into a kaleidoscope of literary possibilities.

It’s the art of choosing the perfect brushstroke for the canvas of your narrative, whether you opt for the vivid colors of expressive prose or the subtle shades of understated elegance.

Your choice of language and style is the very fabric from which your literary tapestry is woven, setting the mood, tone, and rhythm of your description.

Like a chef selecting spices, you season your narrative with words, creating a flavor that lingers on the reader’s palate long after the story has been devoured.

It’s through the deft mastery of language and style that the writer transcends mere storytelling, crafting a narrative that’s not just read but savored, not just observed but felt, and, above all, a story that leaves an indelible impression etched deep in the reader’s consciousness.

Word Choice

Word choice is the writer’s exquisite array of color palettes, the delicate brushstrokes on the canvas of storytelling.

It’s the nuanced selection of each word, akin to selecting the perfect ingredient for a gourmet dish, where even the subtlest nuance can make all the difference.

Every word is a brushstroke, painting not only a picture but also crafting an atmosphere, evoking emotions, and engaging the senses.

Whether you opt for the vivid hues of descriptive language to bring scenes to life or the muted tones of restraint to build tension, each word is a strategic decision that shapes the reader’s experience.

The art of word choice is about precision, impact, and the subtle resonance it creates in the reader’s mind, making the narrative not just engaging but unforgettable, ensuring that the car accident description becomes an indelible masterpiece etched into the reader’s memory.

Sentence Structure

Sentence structure is the composer’s score in the symphony of writing, a tool that shapes the rhythm and melody of your narrative.

Just as a musician crafts a piece of music with varying notes and rests, the writer arranges sentences to create a harmonious and compelling reading experience.

The art of sentence structure involves knowing when to employ short, staccato sentences for impact, and when to unleash the flow of longer, lyrical ones for a sense of fluidity and depth.

It’s the cadence that mirrors the pacing of the story, propelling the reader through action scenes and allowing for reflection in moments of introspection.

By mastering sentence structure, a writer conducts the reader’s emotions and thoughts like a maestro directing an orchestra, making the car accident description not just a story but a carefully composed masterpiece of literary artistry.

Revision and Editing

Revision and editing are the sculptor’s chisel and the jeweler’s fine-tuning, the transformative acts that refine the rough gem of a manuscript into a dazzling literary masterpiece.

It’s the alchemical process of taking raw words and transmuting them into refined gold, where each revision hones the narrative’s edge, and every edit polishes the facets of language to perfection.

Through this alchemy, the writer becomes a wordsmith, shaping and molding the story until it gleams with clarity, precision, and emotional resonance.

Just as a diamond is cut to reveal its true brilliance, revision and editing unearth the true potential of your narrative, ensuring it sparkles and captures the reader’s imagination with an alluring radiance.

It’s here that the writer’s magic truly shines, turning a car accident description into a literary treasure that endures in the reader’s memory.

Peer Review

Peer review is the writer’s crucible of authenticity, where the narrative undergoes the scrutiny of fellow wordsmiths and emerges refined, like precious metal purified in fire.

It’s the invaluable process where trusted peers dissect your work with a discerning eye, offering fresh perspectives and unearthing hidden flaws.

Through this crucible, a writer gains clarity, insight, and the opportunity to address blind spots. It’s a collaborative dialogue that fosters growth, guiding the narrative toward its fullest potential.

The crucible of peer review is where ego yields to the pursuit of excellence, where constructive criticism becomes the catalyst for refinement, and where the car accident description, once scrutinized and enhanced, emerges as a literary gem polished to brilliance.

Self-Editing

Self-editing is the writer’s journey from creator to critic, a transformative process where the narrative is reshaped through introspection and meticulous revision.

It’s the act of distancing oneself from the creator’s hat to don the editor’s cap, approaching one’s work with an impartial and discerning eye.

In the solitude of self-editing, you become both the sculptor and the sculpted, chiseling away redundancies, smoothing out the rough edges, and enhancing the narrative’s clarity and impact.

It’s the pursuit of perfection, an iterative dance where you dissect your own words, seeking out inconsistencies and refining your prose with a precision that elevates your storytelling.

Through self-editing, the writer becomes a true artisan, honing their craft to ensure that the car accident description is not just informative but an artistic masterpiece, delivering a powerful and unforgettable narrative to its readers.

Frequently Asked Questions Describing a Car Accident in Writing

Why do i need to describe a car accident in writing.

Describing a car accident in writing is essential for various purposes, including insurance claims, legal proceedings, and accident reports. It helps provide an objective and detailed account of the incident.

What should I include in the introduction when describing a car accident?

In the introduction, include the date, time, and location of the accident, details about the vehicles involved, and any relevant information about road and weather conditions.

How do I describe the sequence of events leading up to the accident?

Provide a chronological account of the incident, starting with what led to the accident, such as the actions of the drivers, contributing factors, and any warnings or signals given.

What information should I provide about the vehicles and drivers involved?

Describe the make, model, color, and license plate numbers of the vehicles. Include the names of the drivers and their roles in the accident, such as the at-fault driver or victim.

How can I accurately describe the point of impact in the accident?

Use specific terms to describe the impact, such as “rear-end collision,” “side-swipe,” or “T-bone.” Be precise in detailing where and how the vehicles collided.

What should I do if there were injuries in the accident?

If injuries occurred, describe them factually, including the names of those involved, the extent of their injuries, and any immediate actions taken, such as calling for medical assistance.

Should I include information about property damage in the description?

Yes, describe the extent of damage to the vehicles involved, including any dislodged parts or damage to property. This information is crucial for insurance claims and legal matters.

Is it important to include witness statements when describing a car accident?

Yes, including witness statements is valuable. Document their observations, names, and contact information as they can provide additional insights into the accident’s events.

What information about police involvement should be included in the description?

Describe the presence of law enforcement, including the officer’s name, badge number, and any actions they took, such as issuing citations or filing accident reports.

Can I mention contributing factors that may have led to the accident?

Yes, you should include any contributing factors, such as excessive speed, distracted driving, adverse weather, or road conditions. Be objective and factual in your description.

How should I conclude my description of the car accident?

In the conclusion, summarize the key details of the accident and its consequences. Mention any immediate actions taken, such as exchanging insurance information or towing vehicles.

What is the importance of being clear and concise when describing a car accident in writing?

Being clear and concise is crucial to provide an accurate and objective account. Avoid personal opinions or emotions and focus on presenting the facts accurately for the benefit of insurance claims and legal proceedings.

In conclusion of Describing A Car Accident in Writing, describing a car accident in writing is a critical skill that serves various purposes, including insurance claims, legal matters, and official accident reports.

The process involves providing a detailed, objective, and chronological account of the incident, including the introduction, vehicle and driver details, the sequence of events, the point of impact, injuries, property damage, witness statements, police involvement, and contributing factors.

Maintaining clarity and conciseness is essential, as it ensures that the description is accurate and impartial, devoid of personal opinions or emotions.

By following the step-by-step process and adhering to these guidelines, one can effectively convey the crucial information needed to address the aftermath of a car accident, thus facilitating a smoother resolution of the situation.

Related Posts:

• How To Describe A Car In Writing (For Beginners In 2024)
• How to Write a Book Report (A Guide For Beginners -2024)

How To Describe A Face In Writing (10 Best Tips)

• How To Describe A Crime Scene In A Story (12 Best Ways)
• How To Describe Battle Scenes In Writing (10 Best Ways)
• How to Describe Confusion in a Story (10 Best Tips)

Similar Posts

How To Describe A Smile In Writing (15 Best Tips &Types)

How To Describe A Smile In Writing How To Describe A Smile In Writing: Embarking on the journey to describe a smile in writing is like capturing a sunbeam in a bottle—a tantalizing endeavor that beckons the writer to dance between the tangible and the ethereal. In the realm of words, a smile becomes more…

How To Describe Betrayal In Writing (15 Best Tips-2024)

How To Describe Betrayal In Writing How To Describe Betrayal In Writing: Describing betrayal in writing is an art that goes beyond mere storytelling; it’s a journey into the depths of human emotions and the intricate labyrinth of trust and deceit. Betrayal is a universal theme that resonates with readers because it reflects the complexities…

How To Describe A Dress In Writing (10 Best Tips)

How To Describe A Dress In Writing How To Describe A Dress In Writing: In the intricate tapestry of fashion literature, the art of describing a dress transcends the mere portrayal of fabric and design—it is a nuanced and evocative endeavor that invites readers to step into a world where words become threads weaving through…

How To Write A Flashback In A Novel (For Beginners In 2024)

How To Write A Flashback In A Novel How To Write A Flashback In A Novel: Embarking on the delicate art of incorporating flashbacks into a novel is akin to unlocking a hidden vault within the narrative’s labyrinth. The allure of revisiting past moments holds the power to enrich storytelling, providing readers with a deeper…

How To Describe A Face In Writing How To Describe A Face In Writing: The art of describing faces in writing is a powerful and essential aspect of storytelling that transcends mere words on a page. In the hands of a skilled writer, facial descriptions have the ability to breathe life into characters, evoke emotions,…

How To Improve Creative Writing (18 Effective Ways)

How To Improve Creative Writing How To Improve Creative Writing: Embarking on the journey to improve one’s creative writing is like setting sail into an uncharted sea of boundless imagination and linguistic exploration. Creative writing, a realm where words transform into vivid narratives, characters come to life, and emotions are painted across the pages, is…

• Skip to main content
• Skip to primary sidebar

Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Describe a Car Accident in a Story

By Ali Dixon

Are you looking for advice on how to describe a car accident in a story? We’ve included 10 words and examples of they can be used to help you get started.

1. Frightening

Causing fear .

“He stumbled upon the frightening car accident almost by mistake, but he immediately went to try and help those involved.”

“The accident was a frightening scene, with police cars and ambulances everywhere and people crying as they received the help they needed.”

How it Adds Description

Getting into a car accident is scary for anyone. Describing it as frightening will help readers see how a character in your story is reacting emotionally to the accident. What happens after the accident can also be quite frightening as other people get involved and the scene of the accident becomes more chaotic.

2. Dangerous

Characterized by danger ; having the possibility of harm or loss; able or likely to inflict harm.

“He didn’t know that she had been in a dangerous car accident last week, and had spent the next few days in the hospital.”

“Although they were all rattled, the car accident could have been much more dangerous than it was, and they were all extremely grateful for that.”

Use the word dangerous to describe the accident in your story to show readers how close to serious harm characters may have come. This can help it feel like even more of a relief when your characters escape the accident.

Having a lot of noise or sound ; producing a loud sound.

“She didn’t see the car accident as it happened, but it was so loud that she heard it all the way down the road.”

“The car accident was so loud it was almost deafening.”

There are a lot of sounds that might occur during a car accident, like squealing tires or metal grinding together. Describing the noise and how loud it is can help readers feel like they are really there in the moment.

4. Gruesome

Causing feelings of repulsion or horror ; grisly.

“Standing at the scene of the gruesome car accident, the two police officers contemplated their next move.”

“The wreck was a gruesome sight, and it was one that she knew she would not be able to forget anytime soon.”

A car accident can be an extremely gory sight. The word gruesome can describe how the scene looks as well as emphasize how a character involved may be reacting to seeing something that has caused so much carnage.

5. Horrific

Having the ability to horrify or cause feelings of horror.

“As they turned down the narrow road, they came suddenly across the horrific car accident that had taken place a few minutes earlier.”

“Once the paramedic had extracted her from the mangled vehicle and brought her to the ambulance, she took a look back at the horrific site she had been rescued from.”

Want to make sure your readers understand how truly disturbing the car accident in your story is? Horrific is a much stronger word than something like scary and can evoke a bigger emotional reaction from readers.

Marked by a sense of tragedy ; extremely serious or unpleasant; lamentable.

“The tragic car accident that took place earlier that week killed three people.”

“Even months after the tragic car accident, it was difficult for her to recover from the fear and grief she felt.”

A car accident may be tragic because a character or multiple characters in your story died. It can also be tragic if a character experiences some other kind of loss. Perhaps an important item broke during the accident, or maybe their sense of fear growing is the tragedy.

7. Senseless

Lacking in sense ; deficient or contrary to sense so as to be foolish, stupid, or meaningless.

“The driver had been distracted while he was looking at his phone, causing a senseless accident.”

“The deaths caused by the senseless accident were something that the small community would have a difficult time recovering from.”

Tragedies caused by things like car accidents often feel unfair. In this case, you can use a word like senseless to describe the accident. You can also use this to set up an emotional arc for your character as they come to terms with the purposelessness of the accident.

8. Devastating

Causing a lot of damage or harm ; causing extreme emotional pain.

“The car accident was devastating as he not only suffered several broken bones but his vehicle was ruined.”

“The devastating aftermath of the car accident would stay with her for many years to come.”

The word devastating can show readers how much damage a car accident in your story caused. It can also show the emotional effect that the accident has had on the character who experienced it, as well as other characters around them.

9. Disastrous

Causing suffering or disaster ; horrendous; terrible.

“Although the car accident was certainly disastrous , it certainly could have been much worse. The people involved escaped mostly unscathed.”

“There was a disastrous pileup on the highway that morning, and they all waited around for news of what exactly had happened.”

How It Adds Description

Even a small car accident can feel like a disaster. There may have been a lot of damage or harm caused by the accident, or a character involved may have a difficult time dealing with it emotionally. Both of these things can feel disastrous.

Inferior in degree or size ; not serious or having no risk to one’s life.

“She was pretty shaken after the car accident, but luckily it was a minor one with a dent on the car’s hood being the only major damage.”

“He was relieved that the accident had been so minor since he had heard stories from friends who had been in much worse ones before.”

Some car accidents are pretty minor, but that doesn’t mean that there can’t be an emotional effect. You can describe the accident as minor while still having a character struggling to deal with the aftermath.

The Enlightened Mindset

Exploring the World of Knowledge and Understanding

Welcome to the world's first fully AI generated website!

Describing a Car Crash in Writing: Narrative, Dramatic, Metaphorical, Technical and Investigative Descriptions

By Happy Sharer

Introduction

Writing about a car crash can be both a challenging and rewarding experience. It presents an opportunity to evoke emotions and feelings through vivid descriptions. This article will explore how to effectively describe a car crash in writing using narrative, dramatic, metaphorical, technical and investigative descriptions.

When describing a car crash from a narrative perspective, the goal is to create an engaging story that readers can visualize. Here are some tips for constructing a vivid description of the scene:

• Include sensory details such as sight, sound and smell.
• Focus on the characters’ thoughts and emotions.
• Use figurative language to describe the crash.
• Create suspense by foreshadowing what will happen.

Here are some examples of effective narrative descriptions:

• The screech of brakes filled the air as the cars collided head-on. The sudden impact sent shockwaves through the drivers’ bodies and they were left trembling with fear.
• The driver closed their eyes as they slammed on the brakes. In an instant, the car was engulfed in a cloud of dust and smoke. As the air cleared, they opened their eyes to see the devastating aftermath of the crash.
• The driver was blinded by the headlights of the oncoming vehicle. Time seemed to slow down as the cars hurtled towards each other and the inevitable collision became impossible to avoid.

When describing a car crash from a dramatic perspective, the goal is to create a powerful story that will keep readers on the edge of their seats. Here are some tips for creating a dramatic story:

• Focus on the action and intensity of the crash.
• Describe the events leading up to the crash.
• Make use of powerful words and phrases to evoke emotion.
• Create tension by building up to the climax of the story.

Here are some examples of effective dramatic descriptions:

• The cars sped towards each other, the drivers’ hearts pounding in their chests. In one fateful moment, the front ends of the vehicles collided in a thunderous crash that shook the ground beneath them.
• The driver gripped the steering wheel tightly as the car flew towards its impending doom. They could feel the force of the impact reverberating through their body as the two cars collided in an explosion of glass and metal.
• Tension filled the air as the cars raced towards each other. At the last second, the driver tried to swerve away, but it was too late. The cars met with a deafening crash that sent shockwaves throughout the area.

Metaphorical

When describing a car crash from a metaphorical perspective, the goal is to create vivid images and comparisons that will help readers to visualize the event. Here are some tips for using metaphors and similes to describe the crash:

• Compare the crash to a natural disaster.
• Describe the crash as if it were a battle between two forces.
• Compare the impact of the crash to something else, such as an earthquake or tsunami.
• Evoke strong emotions by comparing the crash to something shocking or violent.

Here are some examples of effective metaphorical descriptions:

• The cars collided with the force of a hurricane, sending debris flying in all directions.
• The impact of the crash was like a bomb going off, leaving behind only destruction and chaos.
• The cars crashed into each other like two rival armies clashing in a final battle.
• The cars collided with the force of a thunderbolt, sending sparks flying in all directions.

When describing a car crash from a technical perspective, the goal is to explain the physical forces at play during the crash. Here are some tips for explaining the physics of a car crash:

• Explain the momentum of the cars before and after the crash.
• Describe the kinetic energy released during the collision.
• Explain the effects of friction on the cars.
• Discuss the role of inertia in the crash.

Here are some examples of effective technical descriptions:

• The cars collided with a combined momentum of 2,000 kg/m/s, releasing a large amount of kinetic energy on impact.
• The friction between the tires and the road caused the cars to skid and spin out of control before the crash.
• The inertia of the cars kept them moving forward even after the initial impact, resulting in a more serious crash.
• The momentum of the cars increased exponentially as they approached each other, resulting in a devastating collision.

Investigative

When describing a car crash from an investigative perspective, the goal is to uncover the cause of the crash. Here are some tips for investigating the cause of the crash:

• Look for evidence of negligence or recklessness.
• Investigate any mechanical issues that may have caused the crash.
• Explore any environmental factors that may have contributed to the crash.
• Analyze the behavior of the drivers involved in the crash.

Here are some examples of effective investigative descriptions:

• The driver of the first car was found to be speeding, which contributed to the severity of the crash.
• A mechanical fault in the second car caused it to veer into the path of the first car, resulting in the crash.
• Heavy rain had made the road slippery, causing the driver of the first car to lose control and collide with the second car.
• The driver of the second car failed to check their blind spot before changing lanes, resulting in the collision with the first car.

Writing about a car crash can be a great way to engage readers and evoke emotion. This article has provided tips and examples of how to effectively describe a car crash in writing using narrative, dramatic, metaphorical, technical and investigative descriptions. We encourage readers to experiment with their own descriptions and find the style that works best for them.

(Note: Is this article not meeting your expectations? Do you have knowledge or insights to share? Unlock new opportunities and expand your reach by joining our authors team. Click Registration to join us and share your expertise with our readers.)

Hi, I'm Happy Sharer and I love sharing interesting and useful knowledge with others. I have a passion for learning and enjoy explaining complex concepts in a simple way.

Related Post

Unlocking creativity: a guide to making creative content for instagram, embracing the future: the revolutionary impact of digital health innovation, the comprehensive guide to leadership consulting: enhancing organizational performance and growth, leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Expert Guide: Removing Gel Nail Polish at Home Safely

Trading crypto in bull and bear markets: a comprehensive examination of the differences, making croatia travel arrangements, make their day extra special: celebrate with a customized cake.

• Writing About
• Tips For Writers

May 27, 2014

Writing about: a car accident.

TIP #1: Mention the bruises your character gets from the seat belt and steering wheel. And don't forget the burns from the airbags. I can verify that exposed skin will feel like it has a slight burn.  (Thank you, Cherie, for reminding me!)

TIP: #2: Everyone reacts differently in traumatic events, so you can let one of your characters go into hysterics and another be calm. (Thanks, Slamdunk!)   

TIP #3: Shock (acute stress reaction) occurs after witnessing or being in a traumatic event. Common reactions are numbness and detachment. You can have your character go into a state of shock after their accident, which typical wears off in 24-48 hours. When it does pain becomes present and emotions run high. (Thanks, Stephanie!)  

73 comments:

Thankfully I have never been in one, came very very close once as some nut flew by me like an inch away from the front of my car, but other than that nope. Can set quite the scene indeed

I've only had a side mirror ripped off by some moron who tried to pass me too close. So I've been lucky, too. Yes, car accidents can make exciting and frightening scenes in books.

I was in a car accident recently at the end of July. The other driver admitted she had a red light. The crash sound is scary, metal bending, windsheild cracking or breaking. I had 2 sets of airbag deploy, 1 in front of me and a side airbag on my left. bruising along the left side of my torso, my left ear/side of face was very red, ear felt like it may have been burned a little from airbag. small burn on right hand, abrasion/burn on my left inner forearm.

Wow. That is scary. I'm glad you were okay (aside from the injuries you got) and hope you've been healing physically and mentally from this.

Other than a slight bump from the rear, I've never been in one. But I have seen them happen and there's nothing more awful than the sound of metal crumpling.

And the sound of metal crumpling is definitely something every writer should try to describe.

Luckily, I haven't been in one, but I have written about them. Great tips.

Nor have I, and it is one of my fears, so I'm glad about that! I've written about three so far and each is different. Some go into more detail than others, which is important as not all car accidents are the same and should be treated differently for each story. :)

I've been in several. Thankfully, most were not serious. The one that was serious was less an accident than an attack--you recently read about it on my blog. It's incredibly scary to lose control of your vehicle or have another car slam into you. I live in a city that's renowned for having the world's worst drivers, so car accidents are a fact of life here. That may be why I use public transit instead of owning a car. :)

I don't own a car neither! It's actually a fear of driving and being in an accident that pushes me to use public transportation. So here's another thing we have in common. ;)

I have a tear of driving too! It's nice not to be alone.

Great tips, Chrys. In fact, in my novel that I'm supposed to be working on but haven't been (ahem), the main character gets into an accident by hitting a deer. She ends up in a coma. She time travels while in the coma and the story takes two directions; the devastation and journey of her loved ones and her experience in her time travel. Sigh...I love the plot but I'm stuck on getting her back in her body. It sounds crazy... So, your tips are helpful and I'll go back and reread the car accident scene.

That story sounds awesome!!! I really hope you can figure out way to to get her back into the body so that you can write it.

maybe the girl that had the accident has locked in syndrome (a medical condition, usually resulting from a stroke that damages part of the brainstem, in which the body and most of the facial muscles are paralysed but consciousness remains and the ability to perform certain eye movements is preserved.) and her family members may not realsie that she is there and aware but she is and shes saying things in her head and responding to them but obviously they cant hear...? hope i helped :

That's a great suggestion! :)

I've been in a couple of car accidents, but none of them were major. Only one had the airbag to deploy, and airbags are not fun. I had burns on my chin and neck from the airbag, and the seatbelt bruise wasn't fun either. Great tips for car accidents in stories!

I'm glad the accidents weren't serious! The airbags and seat belt bruises, as well as bruising from the steering wheel is something that writers should remember to add, to make the accident even more authentic. Thank you for mentioning it, Cherie!

Such a great post, Chrys. The beginning of my novel is actually centered around a car accident which foreshadows much of the events to follow. I love the "Prose" part of your tips. They definitely make me want to take a look at my manuscript again to make sure I am fulfilling the reader's needs=) I was in several car accidents. The one thing that sticks out in my mind with all of them is how sudden they are. Especially the one when I was driving with my one-year old niece in the car seat in the back. These asshole degenerate kids were throwing bricks over the bridge and onto the highway. One of the bricks hit and completely shattered my entire front windshield. With only a quick intuition and reaction, I swerved before almost getting side swiped with other cars in the lane over. I don't remember how I made it to the side of the highway because everything was so clouded. In all honesty, I believe my Daddy C was watching over us that night and he somehow protected us from getting crumbled by the ongoing traffic on the highway. A true angel, he is.

I find prose a must when I'm writing a scene like this. And I strive to make my writing vivid to my readers. Yes, you told me about that accident because of those punk kids. I can't believe how foolish and dumb they were! And I'm glad you and your niece were okay!

Luckily I've only been in a minor fender bender, but I don't even know if you can call it that since no fenders actually got bent. But even a minor bump up was scary, so I can't imagine how terrifying a major on is.

Yes, minor bumps are scary. I've had those!

Great itemizing to make it real for the reader. Even if the driver is unaware of most of it, like you said, the reader needs the details.

Exactly! Thanks for stopping by, River! :)

I like your advice in focusing on the what that happens. What was the impact like? What agencies responded? etc. Having been involved in collisions as a driver and then working them for years as the police, I think it is good to remember that each individual is different the way that the incident affects them. Some are obviously shaken and scared, while others will find humor or be detached and all business. Certainly there is room for an author to be creative.

That is very true, Slamdunk! Everyone reacts differently and that should be utilized in a story. Thank you for your comment!

holy Toledo! that was a great idea for writing! i have only been in 2 crashes, but now that you have me focusing on details, they are coming out clearly in my head.

That's awesome! :D

Great tips!!! I have been in a few car accidents in my time (mostly minor) and I can say, time seems to slow down. I'm sure that's what happens in any crisis-type event, like someone being held at gunpoint. It can be only seconds, but you seem to experience every millisecond of it, with all of your senses heightened. And you are SO sore the next day or two! I took a hard fall a couple of years ago and I walked all the way up the hill to the building where my meeting was before it all hit me. When I finally sat down in the clinic (there was a health clinic in the building--what luck is that!), I felt really nauseous and had to lay down. The nurse said shock got me up the hill but once the shock wears off, you feel everything.

The great thing about writing a car accident scene is that it does seem to slow down because of all the vivid details. :) Shock is definitely something that can be used. Thanks for your comment, Stephanie!

Thankfully, I have never been in a car accident - but I've seen a few and they are awful to witness.

I wrote a car accident into one of my stories. It was awesome. I was like, "No, more detail. Slow it down MORE." You really have to stretch those intense moments, eh?

You sure do! ;)

I'm writing a medical story which has a car accident...so this post was really helpful. Thanks Chrys! Nas

That's great! :D

I haven't written a car accident, but now I want to!

I love that! :D

Great tips! I don't have car accidents in any of my WIPs but I'll keep these points in mind if I ever do!

Thanks, Erin! :)

These are great points. I wrote a car accident scene in one of my drawer manuscripts, but I don't think it was that great. I will probably write another one and use this advice.

I hope these tips help if you do write another one. :)

Fantastic post! If and when I write a car accident I'll know where to look for great advice. :)

Thank you, S.K.! :D

Great post! I agree with all of it. I have a car accident in my novel, but it happened in the past. The main character survived. His parents didn't.

There's a car accident in my novella (soon to be released) that happened in the past too, so I didn't really use as vivid of details as I did with other stories.

Hello, I was involved in a crazy car accident that permanently injured me last summer. I would love to write about my personal experience.

I have been in a car crash before. A van slammed into the left side of our car, as it did not see us when they were making a left-hand turn. We later learned that there was a crying baby in the backseat. No one was hurt, but my book might've gone flying and hit my brother.

That sounds scary!

Good tips, especially the one that it has to be relevant to the plot. You can't just stick a crash in for the sake of it! Popping by on the A to Z Road Trip Debbie www.myrandommusings.blogspot.com

Thanks for stopping by, Debbie! :)

Many thanks for your essay I really appreciate the informations with in, it helped me a lot.

You're welcome!

This is a very good read, I'm thinking about writing a book and I'm wanting to put an accident in it, thank you for writing this. As far as being in an accident myself, I was in one when I was 9. My Dad and I were in a 1 ton truck on our way home. We had stopped at a red light before we were to get onto the freeway when we got near the on ramp my Dad puts his foot on the gas petal as hard as he could, but w/the truck being so heavy it took it a while to go faster (like a semi does). I looked out my Dad's window and saw this huge truck flying through the air, stuff flying off of it, because it had hit the center divider in the street. The next thing I remember there were flames everywhere on my Dad's side of the truck. The truck that hit us apparently had hit the center divider and flipped over on top of the driver side of our truck, trapping my Dad inside. He was able to push me out of the passenger side window. I had turned around to try and open the door to save him (which I later received a metal of bravery for) and I remember screaming at him that he had blood running down his face. Then I was taken away from the accident by paramedics (they had seen the whole thing). 3 of the 4 people involved in the accident lived. The passenger of the other truck was severally burned, my Dad had some burns and trouble w/his hip and foot because his foot was trapped under the brake pedal and I suffered 1st and 2nd degree burns on both my hands. To this day I'm still scared of driving next to big trucks (I'm 35 now). Sorry for the long story.

Wow. That is scary! I'm glad that you and your dad survived that. And I'm sorry for the one person involved who lost his/her life. I don't like driving period, and I've never even been in an accident. Good luck with your story!

That is scary! I am just beginning to drive and my only fear is driving next to trucks. overtime we are near one even if we are just driving slow and on a straight road I come close to anxiety attacks. I just have a fear they are going to fall onto me. even tough I have never been in an accident personally.

Driving next to big trucks is always scary for first time drivers. It'll take a while to get used to them.

thanks for the tips. I am writing a short story on a car crash, the girl who has it worst is also a nurse, so they need her most. I have never been in a car accident, and knock on wood hope I never will be. I just never know in what perspective to write them, and when I do my brain forgets so half way through my stories it goes from I to she . lol but thanks it helped a lot

You're welcome, Maya! I also hope you never experience a car accident in real life. As for changing from I to she, at least there's editing that comes after so you can fix that. :)

Again, late, LATE to the party but number four is spot-on. There is also tremendous drama that can carry over though the remainder of the book. The Mrs. and witnessed (first car on the scene) a double-fatality wreck that turned out to be a suicide. My Mrs. was an ER nurse. I've seen my share of /stuff/ but this wreck hung with us for WEEKS.

I actually rewrote this article for a book (that I hope to publish) and included more suggestions, such as writing about what the people on the scene do, the first responders, etc.

I'm happy to see the immense subtle element here!. https://www.eliaandponto.com/michigan-auto-accident-lawyer/

I am really enjoying reading your well written articles. It looks like you spend a lot of effort and time on your blog. I have bookmarked it and I am looking forward to reading new articles. Keep up the good work. Elia & Ponto

I come from several big blue chip law firms. DACA Attroney

At this point you'll find out what is important, it all gives a url to the appealing page: eliaandponto.com

I am very enjoyed for this blog. Its an informative topic. It help me very much to solve some problems. Its opportunity are so fantastic and working style so speedy. website

Its a great pleasure reading your post.Its full of information I am looking for and I love to post a comment that "The content of your post is awesome" Great work. mosscolella.com/michigan-snowmobile-accident-lawyers/

A lot to think about. You could easily make a crash a huge deal in a book or something minimal that merely changes the direction the characters are going. This was a great post on broaching the topic. I have not yet had a reason to write about a car crash, but if I ever do, I will definitely refer to this post.

I’ve read some good stuff here. Definitely worth bookmarking for revisiting. I surprise how much effort you put to create such a great informative website. cheap plpd car insurance michigan

If you are looking for more information about flat rate locksmith Las Vegas check that right away. mobile car wash

The information is much helped me. I thank you a lot and you deserve it. Please write the similar post now and then. Learn Quran online

You can still get a concussion even if you don’t hit your head on anything because your brain your skull. That happened to me when I was in my car accident. My mom drove me to urgent care and they asked me if the air bag deployed or if I hit my head on the steering wheel. I said no to both of those things. They did an X-ray and confirmed I had a mild concussion. The doctor then explained how it happened .

Thanks for the tip!

. The perusers were wired into modified control boards in his gear room that were then wired into the straight clocks. mobile car cleaning company

New comments are not allowed.

Car Description Creative Writing Tips, Prompts, & Ideas

What makes product description writing difficult? You have to give life to the inanimate. You have to describe something that people see multiple times on a daily basis, and do so in a way that makes them look at that thing differently in their head when they read your copy.

Still difficult, but at least there is a lot to get excited about.

Tell a Story; Add Some Context

The easiest way to take the ordinary to extraordinary is to transport that thing to another place and time.

You tell me, what’s better—describing the simple car sitting in your all-pavement parking lot, or the one speeding down the interstate? Or perhaps the one slow creeping down a crowded downtown street on a Friday night, heads turning and eyes glued?

I’m not saying you have to craft a piece of award-winning fiction, nor do you need to gather facts from the car’s past to create non-fiction. But you can have fun with forming a hypothetical.

Think of it as simply painting a picture; placing the vehicle within the context of the potential buyer’s life. It’s all about concrete details and examples .

If you have trouble with this step, think about car commercials. Winding roads, hair in the wind, one lane roads lined by redwoods. The environment and car’s surroundings make for the most compelling of descriptions.

Make an Emotional Connection

What do prospective buyers of the car you’re describing care most about at the end of the day? It could be their kids, or their jobs. It could be the approval of neighbors or friends. It could also be appearing wealthy or attractive, or something else entirely. Match the car to the person who typically buys the car and appeal to their emotions.

Explain Every Visual Detail

It goes back to the above. You’re aiming to build an emotional connection with the reader. You want them to feel something when reading your description other than boredom.

When you’re describing the car, look at a picture and write down every feature you see (door, spoiler, rims etc.). After that, write down every non-feature you see, glare of the sun, reflection in the window, shine of the tire, etc. Take all of this info and start crafting, using everything from the tips above and below.

Appeal to All Senses

Take the visuals from the previous step and use them to appeal to the senses other than sight.

As you can see, not everything you describe needs to be a key selling feature of the vehicle. The blinker? It’s one of the nicest sounds a car can make. Many people find it soothing, and just mentioning it can bring readers out from in front of their computer, and into the vehicle you’re describing.

Pretend Like You’re Giving a Verbal Presentation

So, as you go and when you’re done, read what you’ve written aloud. This goes for any type of copywriting , and most people do this, but it’s always a good reminder.

Don’t be Afraid of Proper Formatting

How would you feel if you were reading a cereal box you were thinking of buying and it looked like this:

Like, why are car descriptions devoid of normal copywriting rules and formatting? They shouldn’t be. People who buy cars buy all of the other consumer products that are written by well-paid copywriters hired to skillfully craft product descriptions.

If you follow all of the tips presented above, you can’t help but use normal sentence structure to encourage reading. Then, if you still need to fit in all of your SEO keywords, create another section to do so.

To end, getting creative with your car description writing isn’t easy! But, there are some fairly low hanging fruits that will help you step your game up.

Search for creative inspiration

19,902 quotes, descriptions and writing prompts, 4,965 themes

car crash - quotes and descriptions to inspire creative writing

• a car on a highway
• autonomous vehicles
• Car Crusher
• car insurance
• driving in rain
• hit and run
• Used Car Salesman

One moment the road is there, wide open and safe, the next there are loud noises, acrid smells and pain that you may or may not recover from. A car crash comes as a shock and that's an aspect he movies and novels aren't good at showing. It is the equivalent of looking without seeing, a form of emotional blindness.

Seeing car crashes is no preparation for being in one.

When you are in the car crash you see things the folks doing a slow drive by are so very blind to.

"I know you want to hear about the crash, I can see the questions in your brain as if they were cartoon birds flying around your skull. The thing is, there is the before, the slick road and the belief everything would be okay and the after, when I walked away from what many don't. It's as if it happened to someone else, if I'm honest, or perhaps as if I saw it in a movie one time. It was noise, mangled metal, and injuries that are healed up already."

The end of the car crash was the start of hell, or recovery and pain on pain; yet the road remained and I could become a good driver once more.

Sign in or sign up for Descriptionar i

Sign up for descriptionar i, recover your descriptionar i password.

Keep track of your favorite writers on Descriptionari

We won't spam your account. Set your permissions during sign up or at any time afterward.

Unleashing Your Inner Writer: Creative Writing Prompts to Spark Your Creativity

Writing can be a profoundly rewarding experience, but every writer encounters moments when the blank page becomes a daunting adversary. Whether you’re a seasoned writer or just beginning your writing journey, finding inspiration can sometimes be challenging. This is where writing prompts can become invaluable tools, helping to spark creativity and overcome writer’s block. In this comprehensive guide, we’ll explore a variety of writing prompts to spark your creativity, delve into the benefits of using them, and offer tips on how to incorporate them into your writing process.

The Power of Writing Prompts

Writing prompts are a fantastic way to ignite your imagination and get your creative juices flowing. They provide a starting point, a seed from which your story can grow. By offering a scenario, a character, or a theme, writing prompts can help you focus your thoughts and break through the barriers of writer’s block.

What Are Good Creative Writing Prompts?

Good creative writing prompts are those that resonate with you personally, challenge your imagination, and encourage you to explore new perspectives. Here are a few examples to get you started:

• Deserted Island: Imagine you are stranded on a deserted island. Describe your initial feelings and the steps you take to survive. What unexpected discoveries do you make?
• Locked Door: Write about a time you found a locked door in your house that you had never noticed before. What lies behind it?
• Time Machine: You stumble upon a time machine. Which time period do you visit, and what adventures await you there?
• Car Accident: Describe a car accident from the perspective of an inanimate object involved in the crash.
• Serial Killer: Write a short story where the main character realizes they are being followed by a serial killer.

These prompts can serve as catalysts for deeper exploration of themes and characters, pushing you to think outside the box and develop your writing skills.

How Do You Spark Creativity in Writing?

Sparking creativity in writing involves more than just finding the right prompt. It requires creating an environment conducive to creative work and developing habits that nurture your imagination. Here are some tips to help you spark your creativity:

1. Set the Scene

Create a comfortable and inspiring living space for your writing practice. Surround yourself with things that inspire you, such as books, art, or music. A dedicated writing area can help signal to your brain that it’s time to get creative.

2. Daily Writing Practice

Make writing a daily habit, even if it’s just for a few minutes. This consistent practice can help keep your creative juices flowing and make it easier to start writing, regardless of whether you feel inspired at the moment.

3. Read Widely

Reading a variety of genres and authors can expose you to different writing styles and story ideas, helping you develop your own voice and spark new ideas.

4. Engage in Other Creative Activities

Sometimes stepping away from writing and engaging in other creative activities, like drawing, painting, or taking photos, can provide a much-needed creative boost and help you return to your writing with fresh ideas.

Writing Prompts to Spark Your Creativity

Now that we’ve discussed how to create a conducive environment for writing, let’s delve into a variety of writing prompts designed to spark your creativity. These prompts are categorized to help you find the perfect one for your current mood and project.

Prompts for Short Stories

• First Person Perspective: Write a short story from the perspective of your favorite fictional character visiting your hometown.
• Plot Twists: Begin a story set in a seemingly normal life, then introduce an unexpected plot twist that changes everything.
• Turning Point: Write about a turning point in a character’s life that leads them to self-discovery.

Creative Writing Prompts

• Sci-Fi Adventure: Describe a future where humanity has colonized Mars. What challenges do the colonists face?
• Historical Fiction: Write a story set in a different time period. How does the main character adapt to the cultural norms and challenges of that era?
• Fantasy Realm: Create a detailed description of a magical land where mythical creatures coexist with humans. What conflicts arise?

Journal Prompts

• Personal Insights: Write a journal entry about a time you overcame a significant challenge. What did you learn about yourself?
• Past Self: If you could give advice to your younger self, what would you say? Write this as a diary entry.

Story Starters

• Best Friend: Your best friend confesses a secret that changes your perception of them. What happens next?
• Last Dream: Describe your last dream in vivid detail. How can it be turned into a story?

Overcoming Writer’s Block

Writer’s block can be a significant hurdle in the writing process. Here are some strategies to overcome it and keep your creative juices flowing:

1. Use Prompts to Spark Creativity

When you find yourself stuck, turn to writing prompts to spark your creativity. Even if the prompt doesn’t lead to a complete story, it can help you start writing and break through the block.

2. Change Your Environment

Sometimes a change of scenery can help clear your mind and provide new inspiration. Try writing in a different location, like a park, café, or library.

3. Set Small Goals

Instead of pressuring yourself to write a perfect story, set small, achievable goals. Write for five minutes, or aim to complete a single paragraph. This can make the task feel more manageable and less intimidating.

4. Embrace Imperfection

Remember that your first draft doesn’t have to be perfect. Allow yourself to write imperfectly and revise later. This can reduce the pressure and help you start writing.

Incorporating Writing Prompts into Your Writing Journey

Writing prompts can play a significant role in your writing journey, offering new ideas and helping you explore different formats and genres. Here are some ways to incorporate them into your writing routine:

1. Daily Warm-Up

Start your writing session with a prompt to warm up your creative muscles. Spend 10-15 minutes writing whatever comes to mind without worrying about grammar or structure.

2. Developing Story Ideas

Use prompts to brainstorm new story ideas. You can mix and match different writing prompts to create unique plots and characters.

3. Exploring Character Development

Prompts can help you delve deeper into your characters’ backgrounds and motivations. Write a scene from your main character’s past or a diary entry from their perspective.

4. Enhancing Writing Skills

Writing prompts can challenge you to experiment with different writing styles and techniques, improving your overall writing skills. Try writing in first person, using poetic language, or creating a story set in an unfamiliar genre.

Creative Writing Prompts for High School Students

High school students can benefit greatly from using writing prompts to enhance their writing skills and explore their creativity. Here are some prompts tailored for young writers:

• Imagination Guide: Write a story where you and your best friend discover a hidden world inside your school.
• Favorite Fictional Character: Imagine your favorite fictional character transfers to your school. How do they fit in, and what adventures do they have?
• Normal Life to Extraordinary: Start with a day in the life of a high school student that takes an unexpected turn. How do they handle the new challenges?

Finding Inspiration from Famous Writers

Many famous writers have used writing prompts and exercises to spark their creativity and develop their craft. Here are a few techniques inspired by renowned authors:

1. Ray Bradbury’s List Technique

Ray Bradbury often created lists of nouns that intrigued him, using them as prompts for his stories. Try making your own list of evocative words or phrases and writing a story that incorporates them.

2. Ernest Hemingway’s Iceberg Theory

Hemingway believed in writing simply and allowing the deeper meaning to surface naturally. Use a prompt to write a scene with minimal description, focusing on subtext and underlying emotions.

3. Virginia Woolf’s Stream of Consciousness

Woolf’s writing often explored characters’ thoughts and feelings in a free-flowing manner. Choose a prompt and write a stream-of-consciousness piece from your character’s perspective.

Practical Tips for Starting a Creative Writing Prompt

Starting a creative writing prompt can sometimes be the hardest part. Here are some practical tips to help you dive in:

1. Set a Timer

Give yourself a specific amount of time, such as five or ten minutes, to write continuously without stopping. This can help you get over the initial hurdle and start writing.

2. Freewrite

Begin with a freewrite where you jot down any thoughts that come to mind related to the prompt. This can help you find a direction for your story.

3. Visualize the Scene

Take a moment to close your eyes and visualize the scene described in the prompt. Imagine the setting, characters, and actions. Then, write down what you see.

4. Ask Questions

Ask yourself questions about the prompt to explore different angles. Who are the characters? What motivates them? What challenges do they face?

Conclusion: Happy Writing!

Writing prompts are powerful tools that can help you overcome writer’s block, develop your writing skills, and spark your creativity. By incorporating prompts into your writing practice, you can explore new ideas, experiment with different styles, and embark on exciting creative journeys. Whether you’re a high school student, an aspiring novelist, or a seasoned writer, there are prompts to spark your creativity and inspire your next great story.

Remember, the key to successful writing is consistency and a willingness to explore new possibilities. So, grab your notebook or open your laptop, choose a prompt, and start writing. Happy writing!

Ready to get writing? Sign up to one of our Writing Courses!

BRYN DONOVAN

tell your stories, love your life

• Writing Inspiration
• Semi-Charmed Life
• Reading & Research
• Works In Progress.

Not Quite Dead: A Writer’s Guide to Serious Injuries and Calamities

Sometimes I want to make it seem like a character might die — but hey, guess what! She makes it! A lot of fiction writers, especially those who write fantasy, science fiction, thrillers, and Westerns, like to write about surviving almost fatal injuries.

Pin or bookmark this post for future reference if you like this kind of plot point! I will probably add to it as I get more ideas. This post is not for the squeamish, though, so please don’t read through it if you think it might upset you. I’m just trying to save you some Googling time so you have more writing time.

I’ve included links to what seem to be credible sources. In a few cases, I haven’t linked to the source because it’s so upsetting or it contains disturbing images, which you won’t find here.

Please note that this post is for WRITING PURPOSES ONLY and is NOT MEDICAL ADVICE, which I am COMPLETELY UNQUALIFIED TO GIVE. I am just a lady who looks things up on the Internet.

With all of these, I am assuming that the injury is happening to a relatively healthy, non-elderly person. If you have suggestions or additions, please let me know. If you are a medical professional and believe something needs to be changed, let me know that, too!

Blood loss (for any reason.)

After your character loses about 2 pints of blood, he is likely to go into shock . If he’s not losing blood at too fast of a rate, he will likely not go into the kind of severe shock that would kill him. He can believably survive a loss of up to 3 pints without a transfusion. It’s very likely he’ll pass out, be cold to the touch, and have a weak pulse, so your other characters might have a scary moment or two of thinking he is dead before they realize that he’s still breathing.

Bear in mind that if your character is cut in the jugular vein, the brachial artery in the armpit, the femoral artery in the thigh, or one of the aorta, he is likely to bleed out too fast to be saved.

Head and face wounds bleed like crazy, because there are are a lot of blood vessels close to the skin , which can make minor head and face injuries seem worse than they really are.

Cauterizing a wound might help him from bleeding out, but he also might get an infection that kills him . Until he can get stitched up, pressure and bandages are usually a better idea.

Gunshot wounds.

Your character can survive a shot in the arm or the leg unless she gets hit in a major artery. Chances are great that she will survive a gunshot wound in the torso with prompt medical attention unless she was shot through in the heart (cue Bon Jovi) or, again, in a major artery that makes her bleed out quickly.

Only 5% of people survive a gunshot wound to the head, but with time, some survivors make surprisingly good recoverie s. Here’s a good overview of the recovery of Gabby Giffords , a United States Congressperson, from this injury.

Sometimes people even survive multiple gunshot wounds .

Starvation.

Let’s look at some real-life examples. Gandhi was pretty skinny, and he survived a hunger strike of 21 days. It’s possible that he sustained internal damage that I don’t know about. David Blaine starved himself for 44 days (he did have water), and I have not been able to find any mention of permanent damage. (He did damage his liver trying to break the record of holding your breath underwater.)

So your guy can probably go 3 weeks without food and be all right eventually, assuming he has some water. But you can’t have him sit down to a steak dinner afterward! His system won’t be able to take it. Here’s a report about feeding David Blaine after his long fast.

Food poisoning (E. coli infection.)

Your character is not at all likely to die, unless he is quite old, but he may have an awful week.

About 70% of fire-related deaths are caused by smoke inhalation rather than burns. Smoke and heat both rise, so your character has a better chance of surviving if she stays low. She can cover her nose and mouth with a hand, her shirt, or a wet rag if possible, and she can hold her breath for short amounts of time.

Here’s a comprehensive article from the New England Journal of Medicine on probability of death from burn injuries. Britannica.com says: “Most people can survive a second-degree burn affecting 70 percent of their body area, but few can survive a third-degree burn affecting 50 percent. If the area is down to 20 percent, most people can be saved.”

Here’s an account of someone who survived the tragic Station Nightclub Fire of 2003 that killed 100 people and injured over 200 more.

Electric shock.

An electric shock can cause both internal and external burns . It might make your character confused or knock her unconscious. A strong shock, such as from a high voltage power line, can cause ventricular fibrillation or cardiac arrest, but if your character is immediately treated with a defibrillator, she can probably survive.

About 90% of people survive being struck by lightning, but they may sustain nerve damage, ruptured eardrums, muscle twitches , memory loss, and personality changes . The late neurologist Oliver Sacks wrote about the fascinating story of a man who was struck by lightning, had a near-death experience, and afterward developed a deep love for music and music composition.

Plane crashes.

Your character’s odds of being killed in a plane crash are incredibly low : 1 in 29.4 million. Airplane crashes are exceptionally rare, and when they do crash, most people survive it .

If you want your character to survive an unusually terrible plane crash, here are two stories that might inspire you: a French teenager who was the lone survivor of an airplane crash in the ocean (heartbreakingly, her mother was on the plane), and the sole survivor of a tragic Russian plane crash that killed a hockey team.

Explosions.

There are all kinds of bombs and explosions. Here are three survival stories: a bakery owner whose oven exploded, causing significant property damage ; a survivor of Daesh’s horrific attack on a metro station in Brussels , and the survivor of the explosion of the commercial spaceship Virgin Galactic.

Here’s an article on two simple rules to survive a bomb blast in a building.

According to the Center for Disease Control, “The human body can survive relatively high blast overpressure without experiencing barotrauma,” but your character’s ears will probably be ringing, and she will probably have injuries from glass and debris .

Venomous snake and spider bites.

A black widow spider bite will almost certainly not kill your character, but it will cause excruciating muscle cramps. Here’s a firsthand account of a teen bitten by one (related content may contain upsetting images.) Without antivenin, symptoms may last for several days.

Most people survive bites from pit vipers in North America — rattlesnakes, copperheads, and water moccasins. Here’s some information about first aid and treatment , and here’a a good firsthand account about a bad rattlesnake bite and its treatment . Some snake bites are worse than others, depending on how much they latch on and how much venom they get into a person.

Suffocation.

Suffocating a person with a pillow is frequently depicted in TV and movies as a quick process, but it really would take 3 to 5 minutes. Your character would likely still be alert after one minute (assuming he doesn’t have a heart attack in response to being smothered.) He could fake being unconscious, wait for his attacker to let up, and then spring on him.

Strangulation.

Your character only has a short window of time for survival here. Compressing the two carotid arteries on either side of the windpipe can make her black out in 20 to 40 seconds, and can kill her in 2 to 4 minutes. That’s because those arteries carry most of the blood to the brain.

Near hanging.

Hanging is a form of strangulation, unless the sudden pressure on the neck causes cardiac arrest , or unless the neck gets broken (decapitation is also a possibility.) If your character is being hanged, he may lose consciousness at around 10 to 13 seconds and go into convulsions at about 15 seconds. If his friends are rescuing him, they have a very short window to cut him down.

Almost drowning.

Your character can probably hold her breath from 30 to 90 seconds (assuming she hasn’t trained to hold her breath for longer periods), and she can probably stay conscious underwater from 90 seconds to 2 minutes. Even after your character is unconscious, she will probably be all right if someone drags her out and performs CPR on her within four minutes. After four or five minutes, she begins to run the risk of brain damage.

Here’s something pretty cool, though — if the water’s really cold, she may be under longer and still suffer no brain damage. She should be treated for hypothermia , though.

Note that usually, drowning doesn’t look like drowning — people do not and cannot wave their arms and yell for help. EDIT: People who have almost drowned should be taken to a hospital. You can read about dry drowning here .

Hypothermia and frostbite.

Here are tables from the National Weather Service that show how much time it takes to get frostbite in cold temperatures and hypothermia in cold water. Weirdly enough, according the linked article, “hypothermia can occur at any temperature lower than normal body temperature. Factors like body fat, age, alcohol consumption, and especially wetness can affect how long hypothermia takes to strike.” Depending on what you’re writing this article on preventing cold stress while working outdoors might also be useful.

Now, let’s talk about…

A Few Ways Your Character Might Seem to Be Dead.

Deep hypothermia can sometimes make a person seem dead .

People who have ingested tetrodotoxin , the poison in pufferfish, have sometimes seemed dead and then made a complete recovery. (A variation of it is used as a way to fake a death in the movie Captain America: Winter Soldier .)

There are some other rare cases in which people come back to life after seeming quite dead. Here’s the Wikipedia article on Lazarus syndrome.

I hope this list helps you when you want your character to cheat death. If you don’t want to miss future reference posts for writers, follow my blog — you can subscribe below. Thanks for stopping by, and happy writing!

90 thoughts on “ Not Quite Dead: A Writer’s Guide to Serious Injuries and Calamities ”

Thanks Bryn! This is some useful information- I’ll definitely be coming back to check this list again I’m sure ?

Thanks, Zara — thanks so much for reading!

My heroine just survived a near-strangulation, and what I learned is that after the event is over, it is possible for the throat to swell closed in response to the trauma. Sadly, if a person does not receive medical treatment within an hour after the event (because she thinks she’s fine now) she has a significant chance of dying later.

Sophie — ah, that is good to know, the forensics site didn’t mention that! I will find a source and update soon. Thank you so much! (Thanks for the kind words, too!)

Here are some of my sources (and I realize that I was mistaken – death can actually occur up to days afterwards!) http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4413082/ http://www.ncbi.nlm.nih.gov/pubmed/19999960 https://www.evawintl.org/Library/DocumentLibraryHandler.ashx?id=540 see “Clinical Presentation” section http://missoulian.com/lifestyles/health-med-fit/nurse-s-notes-strangulation-conversation-continued/article_8fff526e-06be-11e4-bc06-001a4bcf887a.html

Ahh thank you! (PS I hope you know I believed you! I like to share sources if I can… though a couple of the sites were just too gory to link to, haha.)

I drive my family nuts – if you can’t show me your source, don’t bother trying to convince me of something 😉

(super late comment here lol) But I work with female clients involved in the criminal justice system and I have a client whom survived a horrifically bad abusive situation where the father of her youngest son had very nearly killed her by strangling her. She now has permanently damaged vocal cords, so her voice is always raspy and quiet (literally sounds like she has laryngitis, but permanent). That could be another thing to potentially add to this kind of situation for more depth.

And thank you for this information! (Forgot my manners ?)

Thank you for this awesome post. It’s already come in handy. \o/

I’m a new follower of yours, and I have to say I’m loving your blog. <3

Hi Karen! Aw thank you so much, I’m so glad you like it. Thanks for following!

Great information, Bryn. Thank you so much for this.

Thank you for reading, Artemis! Always nice to see you 🙂

Incredible list – as usual! You are my go to resource.

Aw Lexi, that’s so nice! Thank so much.

Great post! I love researching this stuff. As a clinical dietitian, I have to say people can suffer permanent damage to the heart, kidneys, and bones. Unfortunately, I have seen the death of an otherwise healthy young woman due to the effects of self-induced starvation – anorexia. Here is a resource describing the effects of starvation (self-induced) on the body: http://www.webmd.com/mental-health/eating-disorders/anorexia-nervosa/features/anorexia-body-neglected https://www.mccallumplace.com/health-risks-of-anorexia.html

Michelle, thank you! I’ve had a hard time guesstimating about how long before internal damage occurs… probably because it varies so much from person to person! This is really helpful information. Anorexia is so heartbreaking… thank you for doing the work that you do.

Thanks for the list! I’ll come back to it if I ever need o put my characters through something nasty. But since you’re (also) making this list for the more speculative genres like fantasy and sci-fi it might be useful to add something about magic and futuristic technology on it. For example: two of my characters only survive a terrible injury (a spear to the stomach and a magic wound respectively) because they could be magicay healed. And some kind of magic or a special futuristic machine can be used to make someone seem dead, think of voodoo, for example.

Yeah, that’s a good point, Kiete.. with scifi and fantasy you can survive things that ordinarily no person would survive!

Thanks Bryn! This is a wonderful resource! I’ll certainly be referring back to this.

Thanks for reading, Yvonne! 🙂

From what I read about drownings is that most drownings are ‘dry’ drownings, i.e. no water actually ends up in the lungs: the airway simply gets blocked or goes into spasm. Your character can probably survive that quite well.

A ‘wet’ near-drowning, however, where water enters the lungs, is likely to be fatal without treatment after rescue. In the case of salt water, osmosis makes the lungs flood with fluid, and in the case of fresh water micro-organisms from the water starts growing in the lung, again upsetting the fluid balance and causing the lung to fill with fluid.

And I agree on the cold-water drowning: Trauma medicine say nobody is dead until they’re warm and dead.

Fascinating list! Thanks

Niel, always so good to see you!

From what I’ve read, “secondary drowning” is possible but rare . You bring up a great point: in a story with a contemporary setting, the almost-drowning victim should get checked out by a doctor if possible. (That is actually true of pretty much everything on this list!)

Thanks for the kind words!

Finding this was pretty timely! I just shot a minor character in the shoulder last night, and I wanted to make sure he’ll go into shock, but live to fight another day. Your advice on blood loss will be very helpful.

Thanks for the tips and links! I’ve shared this article with my writing association; I think a lot of us will keep coming back to this.

Be very careful with shoulder wounds (torso). Also please be careful with what you mean about shock. Medical shock is a very dangerous thing, and if caused by a bullet in the shoulder, quite likely fatal. Shock is caused by low blood pressure, and if that’s caused by a bullet in a shoulder, that means it’s hit the brachial artery or worse, the subclavian artery or vein. In any of those cases, unconsciousness is almost immediate and death certain without immediate massive medical intervention. Even if those major arteries and veins are missed, the shoulder is full of the nerves for the arms and upper torso. Most (the vast majority) of people would collapse, screaming with pain from any deep-penetrating shoulder wound, or from anything that breaks the collar-bone.

Excellent list and my research has found the same. I hasten to emphasize something you said: prompt medical treatment is usually the key. However, any near death wounds will often leave permanent effects such as brain damage, disabilities, crushed larynx (inability to speak),… The results aren’t binary: alive and fine vs. dead. As for types of death (this is getting long): the details of how it happens is crucial. Burns: the secondary effects, especially infection, are often the cause of death, even from otherwise quite surivable burns. Plane crashes: breakup or loss of control at altitude: very few, if any, survive. Crash on landing or takoff, you are quite right – most survive. Concussion: death can occur hours later even after the character says “I’m fine.” Hanging: without a drop, as you say, 8-13 seconds of hideous pain. (Or a little longer if a sheet or large diameter rope is used, and that’s how most suicides occur.) The “classical” execution style drop is supposed to break the neck. The window of opportunity for rescuing the character ends when the lever is pulled. Even a short-drop will so damage the neck that even if the victim is rescued within the 15 seconds before brain damage starts, he/she will need immediate medical aid in order to survive. Bullets: the weight and speed of that bullet is important: a .22 pistol sub-sonic shot is very survivable (assuming, as you said, no vitals are hit). However, a depleted uranium supersonic hit (even in the arm) will almost certainly kill and very quickly too. Swords, axes and spears: you might want to check out the Battle of Visby: a large fraction of the deaths were from penetrating shoulder wounds – those wounds that TV and movie heroes routinely shrug-off.

I love all this information! Very good to know 🙂 I was wondering if you or anyone else might know about how far someone can fall and still survive? I know there are various factors such as: debris, injuries sustained etc. but one of my characters is going to have a severe fall. I need to know if she can fall from a pretty good height and not die on contact. Thanks for all the other info too!

I’m no expert but I know some numbers. Firstly, training (and/or luck) is crucial within the 10 to 20 feet range. WWII army parachutists hit the ground as if they had free-falled 11 feet (3.3 m). At that drop, landing on open flat fields, they (extremely fit young men) would break an ankle or leg if they landed badly. Training meant that they didn’t land badly, but many enough did break limbs in training. At 15 feet drop, most people, even those with training, will usually injure themselves, and some will die. At 20 feet, surviving is problematic. Landing on a loose un-compacted surface (but NOT a manure pile or mud-swamp) is the best, especially if it allows you to slow down over many feet distance. Water helps too but how you land is crucial: a 20 foot (or less) belly-flop can kill but a 90 foot controlled dive by an experienced expert won’t even injure. And no, landing up to your waist in manure or snow only helps some. It’s much better than landing on concrete, but after watching Frozen, I calculated Anna’s deceleration into the snow. That should have been a very messy instant trip to the morgue. And BTW, it’s not the “hit” that usually does the damage although lacerations fom pointed/sharp ground can and will injure or kill (see below). More importantly (usually) the distortions from the decelerations break bones, rip flesh and scramble the brain,… (so “hitting” a flight spell would be bad: ie the movie version of Hermione’s spell). However, remember that fluke chance can help (some) or hurt (a lot). I remember about a decade ago hearing about a primary-school girl somewhere in the USA. She almost died from tripping over her own feet. She landed on a pencil (or pen) that pierced her heart. She only survived because the teacher knew to NOT remove the pencil, and the ambulance responce was good.

Thanks Chris! I really love your examples (Note to Self: Watch Frozen). I want my character’s fall to be in a warehouse of some sort, probably on concrete, My story is supernatural so she will end up alive supernaturally but once she hits the concrete, she has to be able to survive for at least a few minutes. Thanks for all the info!

Great post! As a fellow writer, I frequently have need of this information (though not human, my characters do have similar dispositions towards injury) and I LOVE the diversity of death/near-deaths you’ve listed. I have bookmarked it 🙂 Thanks!

Very good post. We’ve used electric shock to treat snake bites in our cattle and the neighbor’s dogs. (We do it with jumper cables, but I’d have to get more information from my dad since I’ve never witnessed it.) In all but one case with a dog, the animals had a complete recovery, even though some had been on death’s door before the shock treatment. We’ve had enough luck with this sort of treatment, that, if one of us got bit by a rattlesnake, we’d certainly try shocking it before going to the hospital. (We’re in a very rural area.) I found this website that has some info on it. http://venomshock.wikidot.com

Thought you would find this interesting. Did you know that you should not ice bites? I forget if this is just for snake bites, but with certain types of venoms, cold makes the poison travel quicker. This could make things more dramatic for your characters.

I did not know that, and that is really good to know. Thanks, Madelyn!

I promise to be short this time. One of the things impressed on us during first aid training was the smell. More than one instructor for recerts has said that what hit them on their first “real-life” accident scene was that smell: vomit, blood, sweat, urine, feces. So to make those scenes come alive in your writing, don’t forget those smells, if applicable. However, be reasonable: you don’t want to “gross out” your readers too much.

Excellent post!

Oh thank you so much J. Kathleen. Thanks for reading!

Greetings! I’ve been following your site for a long time now and finally got the courage to go ahead and give you a shout out from Porter Tx!

Just wanted to say keep up the excellent work!

Hi Jane! Oh my gosh, thanks so much for following. And for the kind words! It’s great to hear from you! 🙂

Hello, Miss Donovan! I’m a big fan of your posts, but would it be alright if you could add something to your ‘drowning’ section? If your character passes out underwater and nearly drowns to the point people need to use CPR, they should probably go to be checked out by a doctor. After someone is nearly drowned, there is the possibility they will experience what’s called ‘dry drowning.’ Basically, water builds up in the lungs after they’re out of the water. It’s difficult to spot and usually happens several hours or so after the incident. Anyway, thank you so much for the list! I have a feeling it will be extremely helpful.

Hi Amanda — thank you so much for the reminder. I meant to do this after another comment and it just slipped my mind! I will get to it 🙂 Thanks for the kind words, and thanks for reading!

Just happened to read this via Pintrest. I am not a writer but love reading mystery and suspense novels. One thing I have been taught by people in the first aid business…not teachers but those who use it on a regular basis is that more then likely when CPR is administered rib bones will be broken.

Hi Naomi — welcome to the blog! It’s so funny you should mention that… I just got certified for CPR this month! Our instructor told us that a broken rib was a definite possibility, though it didn’t usually happen… I think the bottom line is, most people would rather be alive with a broken rib than, you know, not alive. 🙂

I agree! I got this info from two people who work in the Canadian military and use first aid and interventions higher than that but are NOT doctors. So just thought I’d pass it on. Not doing anything will leave an already dead person…dead. So ya you can’t really do much wrong if they are dead in the first place.

What about arrow wounds? Are they similar to shots?

Great website! I suggest this website on bow and arrow injuries, https://allthingsliberty.com/2013/05/battle-wounds-never-pull-an-arrow-out-of-a-body/

Thank you. Some of that information about arrow wounds will be very useful in one of my stories.

Thank you so much for sharing the link!

Found this post on Pinterest, of all places, Bryn. Good, helpful, interesting stuff. Thanks!

Thanks for this post. Seems like there is always a great deal of research required if we want to be believable, and TV/movies certainly are not a valid resource (Frozen, as noted, and I have to think that the dwarves in The Hobbit wouldn’t all just walk away after that tremendous fall in the Goblin cave – yet none were even scratched!).

Right now I’m working on trying to believably kill someone instantly (must be by knife or breaking their neck). It’s amazing how much conflicting information is on the Net, so finding something that seems truly authoritative is a challenge.

– Deandra

Oh you’re welcome, Deandra! And yeah, I am always noticing in TV and movies when there’s no way a character could’ve walked away from the ordeal they just went through.

There certainly is a lot of conflicting information out there. Also, there is one thing that rarely gets mentioned, probably because few people want to think about it: the fact that many deaths aren’t immediate. A friend of mine, his office mate broke his own neck playing sports – and survived. He was lucky that none of the nerves were severed. Many suicide jumpers survive for a while – they aren’t lucky. Very few poisons act quickly. A knife in the heart amounts to a massive heart attack. The most merciful I’ve been able to find are those that unconsciousness almost immediately and therefore don’t cause prolonged pain, like beheading, drop-hanging, anything that causes blood prssure in the head to go to zero, like cutting the carotid, or failing that, a massive heart attack or severing any major artery like a spear/sword/bullet in the chest or shoulder (brachial artery) or even the femoral artery in the leg. Death can still take a while, but at least the victim is already out cold. Wounds in the abdomen are chancy. They can kill quickly, or they can take hours, just depending on what exactly was damaged and how badly. From what I understand, death from low atmospheric pressure (plane depressuraization at altitude) is fairly merciful, not because it’s quick, but because there is little pain.

Yes a lot of TV shows, movies and books get it wrong, I guess that is because they go with the old adage, “don’t let the truth get in the way of a good story.” I have done a lot of research on injuries, such and spinal cord injury and cortical blindness, because I required there to be damage to my poor sods who survived, and scars, don’t forget them … unless you not to worried about the truth getting in the way. 😉

I have a hundred and twenty-eight year old question. I am writing of an accident that happened to my great grandfather in 1891. He was alone, returning home on horseback. He was bringing home two wild mules he had purchased from a ranch about 15 miles away.The newspaper account written, was by his own mother, after his death. She said he lived for (two months) after he was “dragged, causing severe injuries internally – chest and kidneys most acute. He has spit blood, and at times has vomited the same, ever since.” He was in a great amount of pain, and also given a “strong mixture of coffeeberry and whiskey for medicinal purposes”. His mother goes on in the article to say that all the family knew during this time that he was declining. He was 31 years old. My grandpa was only a year old when this happened to his father. He also told me his that his father’s dead horse layed on him all night until his family found him the next day. I am writing about this accident, but I’m courious, how could he live two months? With your knowledge of accidents and injuries, do you have a guess as to what might have been going on?

Your great grandfather evidently died of internal injuries.

The spleen is not an essential organ, so if it gets ruptured by itself it does not cause death. But an interruption of blood supply to the spleen might lead to necrosis, which could cause a general decline in wellbeing before death.

Or it might just be a infection.

“Mixture of coffeeberry and whiskey” sounds like a terrible medicine to give to a mortally ill man: today we would call it “Red Bull and Vodka”. But then it was probably all they had.

Niel! Hey there 🙂 Thanks for jumping in there! I tend to agree with what you’ve said.

The frustrating thing for me about researching injuries in general is that there is so much variability. You see people take a long time to die from injuries that seem like they would be quickly fatal, and sometimes even in centuries past, people would survive terrible things. Niel brings up a great point in particular about infection. It can still be an issue with surgeries and professionally treated wounds today, but it was much more of a problem in the past.

That you mention infection is important. Some studies of historical warfare have suggested that until recently, disease, starvation, and infected wounds generally killed more soldiers than while actually on the battlefield fighting the enemy. So whether the hero(ine) gets infected is a crucial point. If you didn’t take care to keep it clean, or if it didn’t fit you well enough, your own armour could kill you.

Hi Chris! Wow, I never thought of the irony of being killed by your own armor!

Hi, I’m am still in middle school, and I am working on a novel that I hope to publish. Your blog has helped me so much, thank you! I will definitely come back to your blog in the future

Hi Hannah! That’s awesome that you’re working on a novel, and I wish you the best of luck with publication. So glad you like the blog. Thanks for the kind words!

That’s awesome! I’m working on a novel as well, and I’m in high-school- maybe someday I can read yours! Good luck!

Interesting post. I have a character in my upcoming novel who got shot in the abdomen with an arrow (its 1872 and the majority of my characters are Native American). I had learned somewhere else he had a small chance of surviving this, and I think I may have to have him going to shock on the lengthy trip to the doctor after reading your information.

That sounds great, Ellen! Having your character go into shock is going to add even more realism, I bet.

This is such a brilliant and helpful post, thank you! But I notice you didn’t include stab wounds – what are the ins and outs of those? Thanks!

Many (most) stab wounds kill from blood loss. As Bryn says, if it hits an artery or the heart, death can be quick. In fact it can be so quick that the person is dead (or at least unconscious) before “they hit the ground”. Or it can take hours (see Bryn’s section on blood loss and shock. Most people badly underestimate the consequences of shock.) Deep stabs to the torso (including the famous TV trope – “only a shoulder wound”) are almost always fatal unless medical aid is available. If you know what you are doing (medical knowledge needed – or sheer stupid luck) there are small spots that are less dangerous, but infection is still a problem. Hit the lung or even open the chest wall (so most stabs above the diaphram that manage to get through the rib cage – which is harder to do than most people think) will collapse a lung quickly or slowly. Below the diaphram, there are the liver, stomach, kidneys, spleen, intestines, and while you can function with damage to those for a while (possibly many hours), medical aid will become essential eventually. So again, an abdomen stab really depends on whether it hits a major blood vessel.

One thing to remember, any stab (or other wound) that severs a muscle or tendon will incapacitate the limb. Doesn’t matter how heroic, how motivated the character is, that limb just won’t function. Sever a major nerve bundle, and the same thing, and the pain will be excruciating. Again, it doesn’t matter how heroic the character is – his/her body just won’t function, and it would be heroic indeed just to stay conscious given that amount of pain.

Chris, thank you! This is awesome. I really appreciate it!

This is one of the most helpful posts I’ve read. I have a question relating to the last post. Is it realistic, given the lack of medical knowledge during most of the medieval period, to consider that a knife wound that severs a muscle or tendon or a nerve bundle might, over time, heal? Or will the character have lost the use of that limb forever? What about a punctured lung? Thanks.

I would like to know that too, and would like to hear from anyone with medical knowledge. Medieval medicine being so bad (although it was better than many give it credit for), it almost boils down to whether those things will recover on their own. In every subject it seems to depend on how bad the injury is and also on the character doing the right things – to whit, not making the injury worse.

Severing the achilles tendon was from ancient times a known nasty way to cripple someone for life, and the same seems to apply to any fully severed tendon. Partially severed tendons can heal, so long as the character doesn’t stress the injury. Damaged nerves can regrow, but if the sheath is severed (which from a stab wound is almost a given) then by all reports, full recovery is highly unlikely and even partial recovery is chancy. And I know from personal experience that the recovering person -must- exercise their muscles and flexibility in the regions “downstream” of the injury, otherwise even once the nerves do heal, some mobility will have been lost. However, perhaps other nerve pathways might be able to take over in some cases? In both cases (nerves and tendons), the recovery time is months at best.

As for muscles, I had no idea, but a quick internet search found the following:

“Muscle is actually an incredibly regenerative tissue…[details on how deleted]… Obviously, there are limitations to muscular regeneration. The muscle tissue seems to require signals from our nervous system, and injuries that are too large fail to heal correctly. Often, in cases like this, a fatty tissue forms in place of healthy striated muscle.”

A medical researcher whose research was on that subject said: yes – very true. So without surgery, I doubt a fully severed major muscle could completely recover.

Punctured lungs, again that depends on how bad it is. A small puncture can heal – so long as the person rests. If the lung collapses, the character will probably die. However again, it isn’t an all or nothing proposition. If they do beat the odds and survive without medical aid to remove the trapped air, there will be permanent lung capacity problems. I knew a woman who lost a significant fraction of one lung but, with 20th C medical help, survived. Any strenuous activity – at all – caused her to gasp for air almost immediately.

Thanks, Chris! That does seem to answer my questions.

This was sooooo helpful!!! I’m working with a lot of injuries as a fiction writer, so it’s always great to be able to have reliable sources I can turn to. Thanks!

This list! What can I say? As a newbie writer, it was vital that I ran across this. Thank you for sharing it. I even used it as a reference for my own blog. In fact, I can think of two other articles you’ve written that have saved me. Ever grateful, Deja.

Deja, aw thank you! I’m so glad it was helpful!!

Thank you!! I am a bit of a wuss at times, and my next novel has my heroine interacting with a highly sadistic serial killer. I do not look forward to all the research I’ll need to do concerning the myriad ways a person can get hurt. Here’s hoping that with this list and the wonderful comments, I can lower my risk of the inevitable Internet gross-outs.

I know this thread is a few months old now, but I just finished the first draft of a project that made me think of this discussion. The protgonist’s team wins in the end, but not without losses. During the climax, I wanted the antagonist to attack two of protagonist’s close friends with a rapier and poinyard, leaving one as a parapalegic and the other to die after a few days. I figured that after disarming them, he’d stab them in the back – severing the spine. So I checked with a friend who is a neurosurgeon and has spent time in emergency wards. Not on, she said. The spinal cord is too well protected and if you did somehow manage to break the spine with a blade, death would be fairly quick. However, she did point out that a deep abdomen stab would do for the slow death. Without antibiotics it would be nasty and inevitable. Having the antagonist throw the friend out a second story window and have them land on a garden wall or the like (I went with a sturdy chair the end) would do for the broken back. And yes, prompt medical help is necessary for the parapalegic to survive – she almost dies from shock.

• Pingback: Writing Links Round Up Blank 8/7-8/12 – B. Shaun Smith

Awesome site! Thank you! I bookmarked it for future reference. Any chance you have anything on head injuries? I have asked some of my nursing friends so I think I’m good but wouldn’t hurt to compare notes with another author. 🙂

• Pingback: Inspiration och motivation

My character has been gang raped. I know, dreadful both physically and emotionally. Have you done any research on this topic with respect to the extent and kind of injuries that could be expected from such trauma, and the amount of time it takes before all evidence degrades too badly to be viable in terms of providing DNA evidence, etc? Some of this information might seem rather evident but I suspect some is not. Anything you can share?

Any information about radiation burns?

I recently discovered your blog and I just want to say a very big THANK YOU! It has been a godsend! I sincerely appreciate all the work you do here; it’s so thorough and helpful, it almost makes writing a novel seem less daunting…almost! But get a load of this crazy lady over here who’s challenged herself to write two – at the same time! (Completely different genres, as if that makes it seem simpler! *facepalm*) I may soon find this to be a fool’s errand, but the Pisces in me is intrigued by the ‘What if…’ and I think it would make for a cool backstory if I actually pulled it off.

Thanks again and hope you’re doing well! x

Hello Bryn, I fond your blog, because I receive some mails with people asking about my old posts. One I wrote was: “Why we must to kill some characters”. Many asked me, how??? So, I answered them based on my own experience. But I try to read, time to time, another people ideas, and this is a good reference. In my case, I have a “almost” drowning in one of my chapters. The event happened in a river. You must to remember, not how they could die, but think if they are available to get some help, or medical atention later. In my story the guy was alone, and was in 1576… I made my work and I searched information based on that kind of deaths in middle times, (or near). I fond a tesis which was wroten by a doctor, how wants to knows what happened on “drowning”. His methods, was drowning cats and dogs on real!!! He made several experiments with those animals, keep them under water X time (then he kill them to made autopsy to check what happend time to time on their bodies), so he kill more than 40 animals. But, not happy with that, he try to drown himself (of course just for seconds). The conclusión (based on that time) was: The person which suffer a drowning, got several collapses, and even inconscience time to time, to wake up and try to breath “again”, but that elipse was really painful, the person suffer inmobility on arms and legs, when his lungs “cant breath anymore”. Water can go to lungs, and he can try to trow up, but under water he can´t. At end, he just faint and then… he breaths and get the “golden” to dies. All process can be really quickly, the full death can be between 4-6 minutes. (the first 1-2 they can try to go out the water), but if you sink, dead can be easily 2-4 minutes suffering with all those things I wrote here. Sadly I dont keep the link, or even the name of the doctor, but read about that was one of the most painful things I did, because sadly a cousin dies by drowning in a pool when he has just six years old. Just knows, so puntual, how much a person suffer with that… was devastated to me. Luckly for my “character”, he saves him self miraculosly (is part of the story), but he suffer all the post sympthoms of that. Pain on chest, head, eyes. Hard to breath, backpain, irritability, lost of memory/time, hypothermia, muscular cramps, etc. My advise is, you must to understand how works medical services on the time of the event, if the character can get access on time or not. If the story is not on “modern time”, the succesful to recover are less. In past, people dies for influenza, flu, births and even for a poisoned open wound (with oxidated iron for example), remember the posibilities when “antibiotics” doesnt exist. So, simple things can kill someone. I made an apologize if I was a bit confuse, english is not my native lenguage.

• Pingback: Writing Fight Scenes – If You Give a Moose a Blog…
• Pingback: ? Writing Links Round Up 10/15-10/20 – B. Shaun Smith

Your post is very good. Starvation as fasting (religious sense) 40 days is not uncommon,and can be endured if the person is of normal weight. If the person is overweight maybe a week or two longer. Much beyond this will result in organ damage. During long fasts the person will grow weaker have less energy and may require more sleep. A careful diet is required when breaking a long fast.Too much food too quickly will cause great harm also note many of the prisoners released from Nazi concentration camps died because American GIs shared their food with them, so the careful diet not kept can kill.

Thank for sharing, Bryn. Take care. 🙂

• Pingback: The Weird Things You Have to Google – The Story Engineer
• Pingback: Writer’s Resource Guide – If You Give a Moose a Blog…

I’m writing a character who falls from a cliff, and nearly dies. What I want is for him to not like be permanently paralyzed, but like near that and take probably years to recover completely, HOWEVER I haven’t been able to find any references to refer to for this particular incident. Is there any way you can help me with this? What would it be like to fall from a cliff and survive?

This is SO HELPFUL!!!! I’m so thrilled I found this!!!! Thank you!!

Some of my thoughts on death dying and surviving. first as an EMT in my younger days, there are only five signs that a victim is truly dead and no first aid is necessary. gross decomposition, decapitation, Lividity, rigor mortis, burned beyond recognition. There is a condition called Internal Decapitation in which a few people survive reasonably well. The spine is severed but the spinal cord is not permanently injured. The spine can be repaired. As a side note, there is a legend that Antoine Lavoisier, who discovered and named Oxygen, was guillotined on May 8, 1794, as a final experiment, promised to blink his eyes as long as possible, it was about 16 sec.

• Pingback: Whump and Hurt/Comfort: How to Write the Tropes

Leave a Reply Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Discover more from BRYN DONOVAN

Subscribe now to keep reading and get access to the full archive.

Type your email…

Continue reading

Write that Scene

May your writing spirit live on forever

How to Write a Driving Scene

• What type of car are they in? Taxi? Limo? Regular car?

» A. Where is their final destination?

I.       A driving scene needs to be significant to the overall plot. If it isn’t then it’s suggested that you skip this scene and write “I drove to so-and so”. II.      If a taxi is taxing the character to a location, then the destination is probably not far. If a limo is taking the character, then the final location is probably far, and if the character is taking their own car they can drive all the way across the country if they want. III.     Where are they going? Is it important, and if so do they plan on using a map, gps, or memory to get them there? Example 1:   

 I got inside my Honda. It was from 1986 clean and still working. I had the option of taking the limo to the party, but last minute I changed my mind. Probably because I just lost my job and my girlfriend broke up with me; there was no reason for me to spend money on a limo anymore… I had no one to impress.

     The last time I been to this guy’s house was ages ago. I’m not even sure if I knew where he lived. Oh well, it was worth a shot to just try.

» B. Is anyone with the character during the drive?

I.       Maybe they can have a conversation with them. If they are alone, then they can have a conversation over the phone or even talk to their self. The conversation can be about the final destination and what they plan to do there. II.     If the character is with someone, does the person annoy the character? Does the person help the character with directions or does the person get the directions mixed up and they end up going somewhere dangerous… or better. Example 2:   

Before I left my block I saw Emily standing on the corner, crying. I quickly stepped on the break and got out of my vehicle.  “What’s the matter,” I said anxiously.

“Thomas broke up with me,” she wailed.

“What a jerk. Today was supposed to be your big day too, wasn’t it?” She nodded but the tears continued to fall.

“Here, I’ll be your escort for the party.”

“I don’t know,” she said shyly. Though her actions didn’t match her words; she got inside my car anyway. Scratching my head, I ran around the car, sat in the driver’s seat and started the engine.

“Don’t worry,” I said, leaving the block, “We’ll have a good time. I promise.”

• What interesting things happen on this trip?

» A. Is the car perfect or busted?

I.     Does the character have to constantly stop for gas? Does the engine smoke or wheel get a flat? II.        Does the character needs a ‘jump’ and ask someone for help? Maybe the person they meet can become the love of their life. Or, maybe they just call for a tow truck and have to somehow pay for the fee. Example 3:  

Several cars passed us by, no one stopped to help. We were stranded on the side of the road.

“Why don’t you call a tow truck?” Emily asked.

“Yeah, and risk having to pay off the debt for the rest of my life. I think not?”

“Then what are we going to do. I could have stayed at home and watched soap operas,” she complained.

“Show some leg. You know how they do on television and movies.”

Right then she slapped me silly across the face. I deserved it.

“Sorry,” I said, rubbing my cheek. “I guess I’m just a little desperate.”

“Then why don’t you show some leg, mmm?”

“Maybe I will,” I exclaimed. “Maybe I will!” 

» B. Are there any dangerous stunts happening on the road?

I.        Does the character get into an accident? II.        Is there traffic that makes the character have to wait forever to get through? Maybe they decide to take the back roads and end up in an interesting place. III.       Are there crazy drivers on the road, tailgating the driver or cutting them off? What about motorcyclists? Does the driver come close to hitting them? Example 4:   

“Wait, I just remembered my dad put a tire in the back. I’ll just change it real quick and we’ll be on our way.”

“Right boozo.” Emily hit the back of my head. “What about the smoking?”

“Stop being so aggressive, would you? It does that sometimes. All I need to do is redo the duct tape and put some more super glue on, and it should be fine.”

Emily rolled her eyes. “Better be,” she said, crossing her arms.

“Now I know why Thomas broke up with you. You’re such a….” She glanced over at me. “Never mind.” I zipped my lip and got back to work. No more than an hour later and we were on our way to the party. Emily knew how to get there by heart so that made the journey easier.

“We better hurry up, it’s about to rain.”

“How do you know?” I said. That’s when thunder sounded. “Never mind.”

“It’s getting cold can I turn on the heater?”

“NO. Uh, huh. I got a jacket in the back. Hold on let me find it.” I asked her to take the wheel as I looked in the back of the car seat.

“Hurry up John. You can get a ticket. This is worse than driving and texting.”

“Don’t worry. Just keep your eyes on the road. You’ll be fine.”

“AHHHHH!” I heard a scream. The next thing I know…. Bump… thump.. CRASH. Black out. Everywhere.

» C. Does the weather cooperate with the character?

I.          How does rain or snow effect the driving? There can be skidding on the road and dangerous accidents can happen. II.        If the weather is sunny and bright, then maybe the sun blinds the character and they have to put the visor down. Or maybe they don’t have air conditioning in their car so they have to stop by a local restraint to relax awhile because it’s too hot. III.         Fog is dangerous; the driver has to go slow. Add in some consequences if your character decides to be reckless. Example 5:   

The only reason I saw light was because someone was shining a flashlight in my face.

“Get up,” Emily said. I looked at her, wide-eyed. Her face had bruised all over and her hands were shaking. A look of ‘I’m pissed’ was in her attitude.

“Oh no.” I covered my mouth. “Emily, I’m soo sorr—”

“Save it,” she said. She glanced up to the sky. The rain began to fall. Slow, at first, but then it steadily became faster and heavier.

“What happened?” I got up and brushed myself off. The car had tipped to the side and my back window cracked a little but other than that everything seemed fine.

“A car almost rammed into us but I swerved in the nick of time. Now,” she cleared her throat, “let’s put this hunk of junk up the right way and get to the party already.”

“You really think we can lift my car? Are you insane?”

“Either we lift the car and get out of here or you call a tow truck and pay.”

I threw off my jacket and rolled up my sleeves. “Okay, let’s do this,” I said, trying to firmly plant my feet in the mud.

• Are there any risks taken during this drive?

» A. Hitchhikers, maybe? How about stopping in the middle of nowhere to look around a crazy town?

I.          Depending on the story, and depending on how long you want this scene to be, it would be interesting if you add some sort of risky decision on your character’s behalf. II.          How does the risk change the course of the journey? For example, texting and driving? Was it a good decision or a bad decision? Example 6:   

We spent the next hour trying to flip my car over. What a shame. It wasn’t until two hitch hikers came that we finally got the darn thing to stand on the right side. The deal was that we had to drive them to the next bus station. I thought easy enough, why not?

“Here it is,” I said joyfully, arriving to the bus stop. “The next bus should come by in ten minutes. Thanks for the help you guys, I appreciate it.”

One of the hikers, named Charley, arched his eyebrow. “We didn’t want to come here to wait for a bus. We own the bus.”

“Yeah,” the other hitch hiker, named Marsha said. “We are the Mokatas, an international band. Yeah, we took a walk, got lost and had to call our chauffeur for help.”

“But you are right about ten minutes. He’ll be here then. Hey, you know what,” Charley continued, “Why don’t we give you a ride to your party. It’s on the way to our gig anyway.”

Marsha smiled. “Yep. Sure is.”

Emily and I stared at one another in shock. I had to be hit on the head in order to come back to reality.

“Yes, yes…. I mean, how rad.” I blinked owlishly. My luck was somehow changing for the better. Did Emily have anything to do with it?

» B. What does the character do to entertain himself/herself?

I.           Do they turn up the radio all the way and sing loudly to their favorite jam? II.        Do they drive really fast down the road, swerving in-between cars? If so, think about the consequences. Maybe a cop will give them a ticket or they can cause am accident. III.       Or they can take a quick nap in the back of their car if they are feeling tired or bored. If so, what do they dream about? Is it relevant to the overall plot? Example 7:    It didn’t take long for the Motakas tour bus to come. On the way to the party we all sang to their songs. I couldn’t believe I never heard of them. As for my car, well it was pulled on the back, safe and sound. Nearly busted, but safe and sound.

• Arriving to the destination.

» A. Focus on their thinking and how much they feel accomplished?

I.       Of course if it wasn’t a long journey then the character might not feel overwhelming accomplished, however they may feel happy about being at their destination, especially when taking the first steps out the car door. II.         Does the character remember the drive and how good or bad it was? Do they tell the person they’re visiting about what happened on their drive? III.         Does the character ease their way out of the vehicle or does their legs feel like jello? Example 8:   

We arrived at the party. Fashionably late, I’d say, but we got here nonetheless. My legs felt like jello, I could only imagine how Emily felt.

 “Well, good luck,” the Motakas said as they lowered my car.

“Thanks again,” Emily and I said, waving. We took a deep breath and looked at one another.

“Want to keep this to ourselves?”

She shrugged. “I guess. Who is going to believe us anyway.”

Making our way into the party, everyone greeted us like we were celebrities. Thomas and my ex-girlfriend were at the party together. How disgusting, however for some strange reason I didn’t care too much. Probably because that drive wore me out.

“We saw you on the news,” Thomas shouted. He marched over to us, practically drag my ex behind him. “Emily, I didn’t know you knew the Motakas.”

Emily smiled. “I guess you didn’t know a lot of things about me did you?” I grinned.

“Hey,” Thomas began. He pushed my ex to the side and brushed his hair back. “I was wondering. Maybe we should give it another shot. Whaddaya say? Huh? Just like old times?”

Emily rolled her eyes, looked at me and kissed me on the cheek. “I’ve already moved on, Thomas. It’s too late.” And with that, she dragged me away from the scene.

» B. How is the car doing? What needs to be done to it?

I.    Does the car need gas or an oil check? How about a wash if the character drove through the mud or if it rained. II.        Is the car making noises after the trip? Did it start off as a great car and become horrible after the journey? Would it be safe to drive in the car again? Example 9:   

After the party, Emily and I walked out as a couple. Though, my newfound confidence faded when I saw my car all dirty and busted. It wasn’t doing so well.

“Hey,” Emily said, rubbing my chest and trying to make me feel better. “You can get a new car.”

“I know,” I said weakly. “But this was like my baby, you know. And after today, all the memories… uh… how am I ever going to get rid of it.”

“Um, excuse me,” an unfamiliar voice sounded. “Yes, I am Mr. Mon of the Monnet Car Industries.”

“Yes, I’ve heard of you. What do you want? Can’t you see us soaking in our misery over here?”

“Well, I was wondering if I could buy this car off of you.”

I held up my hand. “Sorry, man, no can do. My gal and I had a long day. There is no way I would ever give this bad boy up. I made up my mind.”

“What if I gave you a quarter of a million dollars?” The man straightened his tie.

I practically threw up the beer that I drank from the party. “Half, haaalf..” I couldn’t stop stuttering. Luckily Emily spoke for me.

“What’s the catch?” she asked crossing her arms.

“Nothing. My son is a huge, huge fan of the Makatas. His birthday is coming up and money is too common to be considered a gift. This, this car, however, is a true treasure. You’re all over the news kid. Pictures of this car on the back of the Motakas’ bus is all over the web. So, what do you say, Mr?” The man smiled widely.

“Sir….” I held out my hand and shook his. “You got yourself a deal!” ** !You might have to scroll down with your mouse!

  I got inside my Honda. It was from 1986 clean and still working. I had the option of taking the limo to the party, but last minute I changed my mind. Probably because I just lost my job and my girlfriend broke up with me; there was no reason for me to spend money on a limo anymore… I had no one to impress.

     The last time I been to this guy’s house was ages ago. I’m not even sure if I knew where he lived. Oh well, it was worth a shot to just try. Before I left my block I saw Emily standing on the corner, crying. I quickly stepped on the break and got out of my vehicle.  “What’s the matter,” I said anxiously.

        We only drove a block before my car started smoking.  It didn’t look too good. This was the third time this week, I really needed to hire a mechanic. My dad’s super glue and duct tape failed miserably.

“Great, I said.”

“Uh, John, I think you drove over a glass bottle.”

“Please god don’t let me get a flat….” I jumped out of the car and check. Just to my luck that was exactly what happened— a flat.  Several cars passed us by, no one stopped to help. We were stranded on the side of the road.

“Maybe I will,” I exclaimed. “Maybe I will!” “Wait, I just remembered my dad put a tire in the back. I’ll just change it real quick and we’ll be on our way.”

       The only reason I saw light was because someone was shining a flashlight in my face.

“WHat happened?” I got up and brushed myself off.The car had tipped to the side and my back window cracked a little but other than that everything seemed fine.

I threw off my jacket and rolled up my sleeves. “Okay, let’s do this,” I said, trying to firmly plant my feet in the mud. 

      We spent the next hour trying to flip my car over. What a shame. It wasn’t until two hitch hikers came that we finally got the darn thing to stand on the right side. The deal was that we had to drive them to the next bus station. I thought easy enough, why not?

 “Here it is,” I said joyfully, arriving to the bus stop. “The next bus should come by in ten minutes. Thanks for the help you guys, I appreciate it.”

      It didn’t take long for the Motakas tour bus to come. On the way to the party we all sang to their songs. I couldn’t believe I never heard of them. As for my car, well it was pulled on the back, safe and sound. Nearly busted, but safe and sound. 

       We arrived at the party. Fashionably late, I’d say, but we got here nonetheless. My legs felt like jello, I could only imagine how Emily felt.

       After the party, Emily and I walked out as a couple. Though, my newfound confidence faded when I saw my car all dirty and busted. It wasn’t doing so well.

“Sir….” I held out my hand and shook his. “You got yourself a deal!”

Related posts:

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Recent Posts

Recent comments.

Copyright © 2024 Write that Scene

Design by ThemesDNA.com

How To Describe A Car In Writing (200+ Examples & Words)

As a novelist, I’ve learned that the devil truly is in the details, especially when it comes to bringing vehicle scenes to life.

For example, describing cars in a way that not only paints a vivid picture for the reader but also adds depth and personality to the narrative.

Here is how to describe a car in writing:

Describe cars in writing by focusing on visual details like color and finish, specific make and model, size, and body style. Mention interior features, performance specs, and sound for a vivid depiction. Also, consider the car’s age, custom modifications, brand identity, and historical significance.

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

21 Best Ways to Describe Cars

Table of Contents

In this article, I’ll share my personal insights and techniques on how to describe a car in writing.

I’ll guide you through various ways to capture the essence of a car, turning it from a mere object into a pivotal element of your story.

From the roar of an engine to the glint of the sun on polished chrome, I’ll show you how to use your words to make readers feel like they’re right there, seeing, hearing, and feeling every detail of the car you’re describing.

Let’s explore the various characteristics that can be used to describe cars, each with their unique flair and storytelling potential.

1. Color and Finish

The color and finish of a car can say a lot about its personality and the statement it’s trying to make.

A glossy finish might suggest a car that’s well-cared-for and cherished, while a matte texture could indicate something more modern and understated. Metallic colors can add a sense of luxury or high-tech sophistication.

Using these descriptors, you can paint a vivid picture in the reader’s mind.

• Crimson red, like a drop of blood under the streetlights.
• Matte black, absorbing the sunlight without a glint.
• Sunburst yellow, cheerful and impossible to ignore.
• Pearl white, shimmering softly in the moonlight.
• Midnight blue, deep and mysterious as the night sky.
• Cherry red, glossy and vibrant like a freshly picked fruit.
• Gunmetal gray, industrial and unapologetically modern.
• Electric blue, a jolt of color in a monochrome world.
• Forest green, rich and earthy, blending with the landscape.
• Rose gold, a unique blend of luxury and whimsy.

2. Make and Model

Mentioning the make and model of a car can immediately set a tone.

A vintage Mustang might evoke a sense of nostalgia and classic style, while a sleek Tesla Model S could represent cutting-edge technology and forward-thinking.

The make and model can reflect a character’s personality, status, or aspirations, making it a powerful tool in storytelling.

• Vintage Mustang, oozing with classic American muscle.
• Sleek Tesla Model S, the embodiment of modern innovation.
• Luxurious Bentley Continental, a symbol of opulence.
• Rugged Jeep Wrangler, ready for off-road adventures.
• Iconic Volkswagen Beetle, quirky and endearing.
• Sporty Porsche 911, a blend of speed and style.
• Reliable Toyota Camry, unassuming yet dependable.
• Elegant Mercedes-Benz S-Class, a statement of refined taste.
• Practical Honda Civic, the everyday workhorse.
• Flamboyant Lamborghini Aventador, turning heads at every corner.

3. Size and Body Style

The size and body style of a car can greatly influence its character in a story.

A spacious minivan might be associated with family life and practicality, whereas a compact hatchback could signify an urban lifestyle or a young, independent character.

SUVs might imply adventure and a love for the outdoors, while coupes could suggest a more personal and stylish choice.

• Spacious minivan, the stalwart of family road trips.
• Compact hatchback, zipping through city streets with ease.
• Imposing SUV, towering over the smaller cars around it.
• Sleek coupe, a personal statement of style.
• Luxurious sedan, combining comfort with elegance.
• Rugged pickup truck, a workhorse clad in steel.
• Convertible sports car, freedom with the top down.
• Subcompact city car, perfect for tight parking spots.
• Station wagon, a blend of practicality and nostalgia.
• Full-size van, a canvas for adventure and exploration.

4. Interior Features

The interior of a car often reflects the personality and lifestyle of its owner.

Describing the upholstery, dashboard design, and overall ambiance can add a layer of intimacy to your story. Leather seats might suggest luxury, while a cluttered dashboard could hint at a chaotic life.

The interior can be a small world in itself, revealing secrets and stories about its occupants.

• Plush leather seats, the epitome of luxury and comfort.
• Futuristic digital dash, glowing with information.
• Retro vinyl seats, harking back to simpler times.
• Minimalist interior, with clean lines and uncluttered spaces.
• Wooden panel accents, adding a touch of classic elegance.
• Racing seats, snug and ready for high-speed adventures.
• Neon ambient lighting, setting a vibrant mood.
• Panoramic sunroof, bringing the outside in.
• Heated and ventilated seats, comfort in any weather.
• High-tech sound system, turning the cabin into a concert hall.

5. Performance Specifications

The performance of a car can be a thrilling detail to explore in your narrative.

Describing the horsepower, acceleration, and handling can reflect the car’s capabilities and the excitement or power it brings to the scene. It’s not just about speed–it’s about how the car moves and feels, which can be a metaphor for the story’s pace and tone.

• Turbocharged engine, ready to unleash its fury.
• Swift acceleration, the thrill of zero to sixty in seconds.
• Nimble handling, dancing gracefully around corners.
• All-wheel drive, gripping the road with confidence.
• High torque, powering through challenges.
• Smooth ride, gliding over bumps and imperfections.
• Efficient fuel consumption, for the environmentally conscious.
• Advanced suspension, a balance of comfort and performance.
• Regenerative braking, the fusion of power and sustainability.
• Dynamic steering, responsive to every subtle command.

6. Sound and Acoustics

The sound of a car can be incredibly evocative.

The roar of an engine, the purr of a well-tuned motor, or the near-silence of an electric vehicle can set a scene and reflect the mood.

The acoustics of a car, from the sound of the door closing to the hum of the tires on the road, can be used to immerse readers in the experience.

• Roaring engine, announcing its presence with authority.
• Soft hum of an electric motor, whispering of the future.
• Deep and throaty exhaust note, a symphony of power.
• High-pitched whine of a supercharger, screaming performance.
• Quiet cabin, insulated from the chaos of the outside world.
• Distinctive clunk of the door, a sound of solid build.
• Rhythmic thumping of a powerful sound system.
• Squeal of tires, the sound of urgent acceleration.
• Gentle purring at idle, a beast in repose.
• Wind noise at high speed, the rush of air as the landscape blurs.

7. Age and Condition

The age and condition of a car can be a reflection of its journey and its owner’s story.

A new, spotless vehicle might represent success or a new beginning, while a vintage car could evoke nostalgia or a connection to the past. The condition – whether pristine, well-maintained, or weathered – can also hint at the character’s values and lifestyle.

• Pristine classic, lovingly restored to its former glory.
• Weathered old-timer, scars telling tales of past adventures.
• Brand-new model, sleek and untouched.
• Well-maintained family car, cared for through the years.
• Rusty beater, resilient despite its age.
• Showroom condition, with not a speck of dust.
• Battle-scarred veteran, a survivor of many road trips.
• Time-worn interior, seats holding memories of past occupants.
• Restored with original parts, a tribute to authenticity.
• Faded paint, a testament to its journey under the sun.

8. Custom Modifications

Custom modifications can make a car uniquely personal and often reflect the owner’s personality or aspirations.

From performance enhancements to aesthetic changes, each modification tells a story.

Whether it’s a powerful engine upgrade or a visually striking paint job, these details can add depth to your narrative.

• Custom spoilers, adding an aggressive flair.
• Enhanced audio system, turning the car into a rolling concert.
• Nitrous oxide system, for that extra burst of speed.
• Hydraulic suspension, dancing on the streets.
• Matte wrap finish, a modern twist on classic lines.
• LED underglow, a car that lights up the night.
• Supercharger, for a relentless surge of power.
• Racing stripes, hinting at a need for speed.
• Off-road modifications, ready for any terrain.
• Bespoke interior, tailor-made to the owner’s taste.

9. Brand Identity

The brand of a car often carries with it a set of associations and expectations.

Luxury brands like Mercedes symbolize opulence and class, while brands like Toyota are often associated with reliability and practicality.

The brand can influence how characters and settings are perceived by the reader, adding an extra layer to the narrative.

• Luxury of a Mercedes, a statement in elegance.
• Reliability of a Toyota, a trusted companion on the road.
• Performance pedigree of a Ferrari, a car that demands attention.
• Ruggedness of a Land Rover, ready for off-road escapades.
• Innovation of a Tesla, driving into the future.
• Iconic design of a Mini Cooper, quirky and fun.
• American muscle of a Ford Mustang, raw and powerful.
• German engineering of a BMW, precision and sophistication.
• Timeless elegance of a Rolls-Royce, the pinnacle of luxury.
• Sporty spirit of a Subaru WRX, adrenaline in motion.

10. Historical Significance

Cars with historical significance bring a sense of time and place to your narrative.

They can be iconic models known for their roles in famous movies or cars that marked technological breakthroughs.

These cars can serve as symbols, connecting your story to larger themes or historical moments.

• Cars from famous movies, like the DeLorean from “Back to the Future”.
• Models with a rich history, like the Ford Model T.
• Vehicles that marked technological milestones, like the first Prius.
• Cars associated with historical figures, like JFK’s Lincoln Continental.
• Iconic race cars, legends of the track.
• Pioneers of design, like the original Volkswagen Beetle.
• Cars that defined an era, like the 60s Mustangs.
• Military vehicles repurposed for civilian life, like the Willys Jeep.
• Limited edition models, rare and sought after.
• Vehicles that sparked cultural movements, like the minivan for families.

11. Aerodynamics and Design

The aerodynamics and overall design of a car not only influence its performance but also communicate a lot about its character.

Sleek contours can imply speed and elegance, while robust, wind-cutting shapes might suggest strength and resilience. This aspect of a car can be used to mirror the traits of a character or the mood of a scene.

• Sleek contours, embodying speed and efficiency.
• Wind-cutting shapes, designed for optimal performance.
• Streamlined profile, cutting through the air with ease.
• Bold aerodynamic spoilers, adding to the car’s aggressive stance.
• Scissor doors, opening up with a futuristic flair.
• Low and wide chassis, hinting at stability and power.
• Fluid lines, suggesting movement even at a standstill.
• Active aerodynamic features, adapting to enhance performance.
• Teardrop shape, for minimal wind resistance.
• Aerodynamic wheel designs, blending style with function.

12. Lighting and Accessories

Lighting and accessories can add a distinctive touch to a car, enhancing its personality and functionality.

Bright LED headlights can suggest a modern and tech-savvy car, while a panoramic sunroof might indicate a preference for luxury and openness.

These details can add depth to the setting and give readers a clearer picture of the scene.

• LED headlights, casting a bright, modern glow.
• Panoramic sunroof, offering a view of the sky above.
• Custom grille, adding a personal touch to the front.
• Tinted windows, suggesting privacy and mystique.
• Roof racks, ready for adventure and exploration.
• Fog lights, for clarity in murky conditions.
• Tailfin antennas, a nod to classic design.
• Chrome accents, adding a touch of elegance.
• Rear spoilers, for a sporty and dynamic look.
• Side skirts, enhancing the car’s sleek profile.

13. Wheels and Tires

The wheels and tires of a car are not just functional — they can also be a strong stylistic statement.

Alloy wheels can give a car a high-end, sporty look, while all-terrain tires might suggest an adventurous spirit. The design and type of wheels and tires can add realism to a scene and help convey the character’s lifestyle or preferences.

• Alloy wheels, with a sleek and modern design.
• All-terrain tires, ready to take on any road.
• Low-profile tires, for a sportier look and feel.
• Custom rims, personalizing the car’s appearance.
• Spinning hubcaps, adding a flashy touch.
• Run-flat tires, combining practicality and resilience.
• Off-road tires, rugged and ready for rough terrain.
• Chrome wheels, shining with every turn.
• Racing slicks, for the ultimate grip on the track.
• Whitewall tires, a classic and timeless choice.

14. Environmental Impact

In today’s world, the environmental impact of a car is increasingly important.

Describing a car’s eco-friendliness, such as its fuel efficiency or zero-emission status, can reflect the values of a character or the theme of a story.

Hybrid and electric models can symbolize innovation and responsibility, adding a contemporary touch to your narrative.

• Zero-emission electric vehicle, silent and clean.
• Hybrid model, balancing performance with eco-friendliness.
• High fuel efficiency, for the environmentally conscious.
• Solar-powered features, harnessing renewable energy.
• Low-emission engines, minimizing the carbon footprint.
• Regenerative braking systems, maximizing energy efficiency.
• Biofuel compatibility, a step towards sustainability.
• Lightweight materials, reducing energy consumption.
• Aerodynamic design, for improved fuel economy.
• Electric charging capabilities, embracing the future of mobility.

15. Technological Features

In a world where technology is constantly evolving, the technological features of a car can be a significant aspect of its character.

Modern tech like advanced navigation systems and safety features not only add to the car’s functionality but can also symbolize the setting’s time period or the owner’s values.

Describing these features can immerse the reader in a more realistic and relatable world.

• Autonomous driving capabilities, a glimpse into the future of travel.
• Collision avoidance systems, ensuring safety with every journey.
• Advanced navigation systems, guiding the way with precision.
• Keyless entry and start, the epitome of convenience.
• Adaptive cruise control, for a relaxed driving experience.
• Lane departure warnings, combining safety with technology.
• Wireless charging pads, keeping devices powered up on the go.
• Interactive infotainment systems, entertainment at your fingertips.
• Voice-activated controls, for effortless operation.
• Head-up display, keeping important information in the line of sight.

16. Comfort and Convenience

Comfort and convenience features in a car can greatly enhance the driving experience, making it more enjoyable and relaxed.

Heated seats, voice-activated controls, and other such amenities not only add a touch of luxury but can also reflect the character’s preferences and lifestyle. These details can make the scenes more vivid and relatable to the reader.

• Heated seats, a cozy embrace on cold days.
• Voice-activated controls, responding to every command.
• Automatic climate control, maintaining the perfect temperature.
• Spacious legroom, offering a comfortable ride.
• Rearview cameras, for hassle-free parking.
• Electric adjustable seats, finding the perfect position with ease.
• Sunshades, providing relief from the glaring sun.
• Hands-free trunk release, for when your hands are full.
• Massaging seats, turning every drive into a spa experience.
• Memory settings, personalizing the car to each driver.

17. Emotional Appeal

A car can evoke a wide range of emotions, from the thrill of a sports car to the nostalgia of a vintage model.

Describing the emotional appeal of a car can add depth to your narrative, allowing readers to connect with the story on a more personal level.

The excitement, pride, or sentimentality associated with a car can be a reflection of the characters’ feelings and experiences.

• The thrill of a sports car, a rush of adrenaline with every turn.
• Nostalgia of a vintage model, memories embedded in every curve.
• Pride of owning a luxury brand, a symbol of success.
• Sentimental value of a family heirloom, stories passed down with the keys.
• Joy of a first car, a milestone in independence.
• Peace of a smooth ride, a serene escape from the outside world.
• Excitement of a convertible, the wind in your hair.
• Satisfaction of an eco-friendly vehicle, driving with a clear conscience.
• Attachment to a reliable old car, a dependable companion through life’s journeys.
• Awe of a high-performance machine, the epitome of engineering marvel.

18. Symbolic Meaning

Cars can symbolize various themes and concepts in a story, from status and power to freedom and escape.

The type of car and the way it is portrayed can reflect the underlying messages or themes of your narrative.

A luxury car might symbolize wealth and status, while a rugged off-roader could represent adventure and a free spirit.

• Status symbol, a display of wealth and success.
• Representation of freedom, the ability to go anywhere at any time.
• Symbol of innovation, embracing new technologies and ideas.
• Emblem of a bygone era, a connection to the past.
• Indicator of a character’s personality, like a flashy sports car for a show-off.
• Metaphor for life’s journey, roads taken and destinations reached.
• Icon of rebellion, a departure from the conventional.
• Expression of artistic taste, through custom designs and modifications.
• Reflection of practicality and responsibility, in a family-oriented vehicle.
• Manifestation of a dream, the realization of a long-held aspiration.

19. Rarity and Exclusivity

Rarity and exclusivity can add an air of intrigue and prestige to a car.

Describing a car as a limited edition model or a rare vintage find immediately sets it apart as something special and coveted. This can be used to symbolize a character’s unique qualities or to create a sense of wonder and admiration in your narrative.

A rare car can become a plot point in itself, a treasure with its own backstory and significance.

• Limited edition models, each with its own unique serial number.
• Rare vintage finds, treasures unearthed from the past.
• Bespoke supercars, one-of-a-kind in design and performance.
• Collector’s items, sought after by enthusiasts worldwide.
• Prototype models, glimpses into what could have been.
• Exotic imports, rare sights on local roads.
• Handcrafted luxury vehicles, the pinnacle of craftsmanship.
• Discontinued models, the last of their kind.
• Cars with celebrity provenance, graced by fame.
• Historical race winners, legends in the automotive world.

20. Cultural Associations

Cars often hold a significant place in various cultures and can be associated with certain lifestyles, eras, or groups.

For example, muscle cars are an integral part of American automotive culture, symbolizing power and freedom. Luxury cars are often seen in celebrity circles, representing glamour and success.

These cultural associations can add depth to your story, connecting the car to broader themes and societal perceptions.

• Muscle cars in American culture, symbols of power and freedom.
• Luxury cars in celebrity circles, flaunting wealth and style.
• Classic British sports cars, an air of sophistication and tradition.
• Italian supercars, the embodiment of passion and design.
• German engineering, a mark of precision and quality.
• Japanese compact cars, showcasing efficiency and innovation.
• French city cars, epitomizing chic urban living.
• American pickup trucks, representing rugged individualism and practicality.
• Scandinavian electric vehicles, a commitment to sustainability and clean design.
• Russian off-road vehicles, known for their durability and resilience in harsh conditions.

21. Contrast and Comparison

Using contrast and comparison is a powerful way to highlight a car’s unique features and set it apart from others.

By drawing comparisons, you can provide context and help the reader understand a car’s positioning in terms of performance, size, luxury, and other attributes.

This approach is particularly effective in showcasing the superiority or uniqueness of a car in relation to well-known benchmarks.

• Faster than a Ferrari, a testament to unmatched speed.
• More spacious than a sedan, offering unparalleled comfort for family travel.
• More fuel-efficient than a hybrid, leading the way in eco-friendly innovation.
• More luxurious than a Rolls-Royce, setting new standards in opulence.
• Tougher than a Land Rover, ready for the most challenging terrains.
• More technologically advanced than a Tesla, pushing the boundaries of automotive tech.
• Sleeker than a Jaguar, epitomizing elegance in motion.
• More affordable than a BMW, providing luxury without the hefty price tag.
• Nimbler than a Porsche, offering superior agility and handling.
• More iconic than a Mustang, a symbol of automotive history and culture.

Here is a video that will help you learn how to describe a car in writing:

30 Best Words to Describe Cars

Choosing the right words to describe a car can elevate your writing, giving it precision and flair.

Here’s a list of 30 descriptive words, each capable of conjuring a vivid image or conveying a specific characteristic of a car:

• Sleek – streamlined and elegant.
• Robust – strong and durable.
• Innovative – featuring new ideas or methods.
• Luxurious – opulent and comfortable.
• Agile – quick and responsive.
• Rugged – tough and hard-wearing.
• Pristine – in perfect condition.
• Vintage – classic and from a past era.
• Futuristic – ahead of its time in design or technology.
• Sporty – designed for performance.
• Spacious – offering plenty of room.
• Economical – efficient in using fuel or resources.
• Eco-friendly – environmentally friendly.
• Powerful – strong and forceful in performance.
• Timeless – enduringly stylish.
• Cutting-edge – at the forefront of progress.
• Elegant – graceful and stylish.
• Compact – small and efficient in size.
• Flashy – showy and attention-grabbing.
• Dependable – reliable and trustworthy.
• Exotic – strikingly unusual or rare.
• Sleek – smooth and polished in appearance.
• State-of-the-art – using the latest technology.
• Quirky – unusual in an attractive and interesting way.
• Aerodynamic – designed to reduce air resistance.
• Customized – modified to suit personal preferences.
• Iconic – widely recognized and well-established.
• High-performance – capable of great speed or efficiency.
• Retro – imitative of a style from the recent past.
• Majestic – grand and impressive in appearance.

30 Best Phrases to Describe Cars in Writing

Phrases can paint a more detailed picture, combining words to encapsulate the essence of a car.

Here are 30 phrases that vividly depict various aspects of cars:

• “Engine purring like a contented cat.”
• “Hugging the curves with ease.”
• “Gliding silently down the street.”
• “The embodiment of speed and luxury.”
• “Roaring to life with a turn of the key.”
• “A marriage of form and function.”
• “A testament to automotive excellence.”
• “Sleek lines cutting through the air.”
• “A symphony of engineering and design.”
• “An oasis of comfort in a bustling world.”
• “Bathed in chrome and elegance.”
• “Whisper-quiet interior, a world apart.”
• “The heart of a lion under the hood.”
• “Tailored to perfection, inside and out.”
• “The roar of the engine, a call to adventure.”
• “A beacon of innovation on four wheels.”
• “A classic beauty, timeless and revered.”
• “Merging power with sustainability.”
• “A dynamic fusion of technology and style.”
• “An icon of the open road.”
• “Resonating with raw power and grace.”
• “A chariot of modern luxury.”
• “Crafted for the connoisseur.”
• “A visual and tactile delight.”
• “Commanding the road with authority.”
• “The epitome of automotive artistry.”
• “A palette of performance and elegance.”
• “Masterfully engineered for the ultimate drive.”
• “A tribute to tradition, with a modern twist.”
• “As much a journey as a destination.”

3 Full Examples of How to Describe Cars (In Different Genres)

Here are full examples of how to describe cares in writing in different kinds of stories.

Action-Packed Adventure: Describing a car chase scene

The powerful V8 engine of the mustard yellow 1969 Dodge Charger roared as the driver floored the accelerator, the rear tires struggling for grip before catapulting the muscular coupe forward. The charged beast darted through narrow alleys, its long hood and iconic Coca-Cola bottle shape making it look like a predator chasing its prey.

As the driver yanked the steering wheel to take a hard corner, the stiff suspension kept all four balding tires clung to the asphalt.

Romantic Novel: Detailing a vintage car in a romantic setting

As Sally approached the flowering meadow, she spotted a cherry red 1957 Chevy Bel Air, its chrome bumpers and trim glittering in the golden hour sunlight.

The old-fashioned tail fins gave the Chevy an endearing personality, like a faithful metal steed waiting to carry passengers on retro adventures. Sally ran her fingers along the Chevy’s smooth flanks, memories of her high school days flooding back. The supple bench seat, now lightly cracked from years in the sun, still looked inviting.

Futuristic Sci-Fi: Imagining a car in a sci-fi scenario

The UFO-like hovercar glided silently above the metallic streets, slight ripples in the air beneath its aerodynamic fuselage the only indication of its incredible speed.

Inside the dark glass cockpit, screens and holograms bathed the pilot seat in a blue glow. With the autopilot engaged, the pilot could sit back and enjoy views of the chrome spires and towering neon signs through the wraparound windshield as the gumdrop-shaped hovercar transported him through the cyberpunk megalopolis.

Final Thoughts: How to Describe a Car In Writing

Vividly detailing cars accomplishes much more than just visually depicting what a car looks like.

Masterful car descriptions in writing evoke visceral emotions in the reader, provide windows into characters’ personalities, and transport audiences to fantastical settings limited only by imagination.

Read This Next

• How To Describe Eyebrows In Writing (100+ Words & Examples)
• How To Describe Night In Writing (100 Best Words + Examples)
• How To Describe Running In Writing (100+ Words & Examples)
• How To Describe Stars in Writing (100+ Words and Examples)

Center for Automotive Research

CarCaramEL.

Ultimate Automotive

How to Describe a Car Accident

The police officer arrived at the scene of the accident and spoke to the drivers. He took their names and addresses and asked them what happened. One of the drivers said that she was coming around the corner when she saw the other car in her lane. She tried to swerve out of the way, but they collided. The other driver said that he was driving down the street when he saw the first car coming towards him. He tried to brake, but it was too late and they hit each other.

• Describe the location of the accident, including any landmarks that may have been nearby
• Give a detailed description of what happened leading up to the accident
• Describe the actual moment of impact and what happened afterwards
• Include any injuries sustained by anyone involved in the accident, as well as damage done to the vehicles involved
• If there were any witnesses to the accident, be sure to get their contact information so that they can be interviewed later if necessary

Table of Contents

How to Describe an Accident | Past Simple vs. Past Perfect vs. Past Continuous

How to Describe a Car Crash in Creative Writing

Car crashes are one of the most commonly used metaphors in creative writing. They can be used to describe the moment when two characters first meet, or the moment when a relationship ends. A car crash can also be used to describe an event that changes a character’s life forever. When describing a car crash in creative writing, it is important to be as detailed as possible. The reader should feel as if they are right there in the middle of the action. Every sound, smell, and sensation should be described in vivid detail. One way to make a car crash more interesting is to add a bit of suspense. For example, the reader may not know exactly what happened until the very end. This can leave them feeling both shocked and satisfied at the same time. Another way to add intrigue is to make the car crash part of a larger mystery. For example, perhaps two characters are driving on a deserted road late at night when they hit something in the road that causes their car to spin out of control and crash into a tree. What was that thing in the road? Was it an animal? Or was it something more sinister? This type of plot twist can keep readers hooked until the very end.

Describing a Car Crash in Writing Example

No one ever expects to be in a car crash. But if you are, it’s important to know what to do next. Here is an example of how you can describe a car crash in writing: I was driving on the highway when suddenly, another car slammed into the side of mine. The impact was so severe that my car spun around several times before coming to a stop. I was shaken up and had some pain in my neck and shoulders, but thankfully I wasn’t seriously injured. The other driver didn’t fare as well. He was ejected from his vehicle and landed several feet away. He wasn’t moving and there was a lot of blood around him. I called 911 immediately and stayed with him until the paramedics arrived. It was a scary experience, but I’m just glad that everyone involved survived.

Describe a Car Accident Essay

If you have never been in a car accident, consider yourself lucky. Even a minor fender bender can be a traumatic experience. If you have been involved in a serious car accident, you may be dealing with physical injuries, emotional trauma, and financial stress. No matter how your car accident happened, there are some important things you need to do to protect your rights and get the compensation you deserve. The first thing you should do after a car accident is seek medical attention for any injuries you or your passengers have sustained. It is important to get checked out by a doctor even if you don’t think you are seriously injured because some injuries, such as concussions, may not be immediately apparent. Once you have received medical treatment, make sure to keep all of your medical records and bills as documentation of your injuries. The second thing you should do after a car accident is notify your insurance company about the incident. Your insurance company will need to know what happened so they can process any claims for damages or injuries. Even if you think the accident was completely the other driver’s fault, it is still important to notify your own insurance company because they may offer coverage that the other driver’s insurance doesn’t cover. For example, if the other driver doesn’t have liability insurance or if they fled the scene of the accident, your own uninsured motorist or hit-and-run coverage may come into play. Once you have notified your insurance company about the accident, it is time to start gathering evidence to support your claim for compensation. If there were witnesses to the accident, get their contact information so that their statements can be used as evidence. Take photos of the damage to both vehicles involved in the accident as well as any visible injuries that were caused by the collision. Keep track of any expenses related to the accident such as medical bills or vehicle repairs. All of this evidence will be helpful when it comes time to negotiate a settlement with either another driver’s insurance company or your own insurer. If you were injured in a car accident that was caused by another driver’s negligence, then you may be entitled to receive compensation for your damages through a personal injury lawsuit . This type of legal action can be complex and time-consuming , so it is important to consult with an experienced personal injury lawyer before proceeding .

How to Describe a Car Accident Scene

No one ever expects to be in a car accident. But if you are, it’s important to know how to describe the scene of the accident to authorities. Here’s what you need to do: 1. Pull over to a safe location, if possible. If you can’t pull over, turn on your hazard lights so that other drivers will know you’re stopped. 2. Call 911 and give them your location. Tell them that there has been an accident and whether anyone is injured. 3. Wait for police and medical help to arrive. In the meantime, don’t leave the scene of the accident or talk to anyone except for emergency personnel. 4. Give a statement to police about what happened leading up to the accident and what you saw happen during the accident itself. Be honest and forthcoming with information; don’t try to downplay your role in the accident or make excuses for what happened.

How to Describe an Accident in Writing

No one ever expects to be in an accident. But if you find yourself in one, it’s important to stay calm and take stock of the situation. Then, you need to document what happened as best you can. This will be vital information if you need to file an insurance claim or make a personal injury claim later on. Here are some tips on how to describe an accident in writing: 1. Stay calm and assess the situation. This can be difficult after being involved in an accident, but it’s important to try and stay calm. Take a few deep breaths and survey the scene around you. Is anyone injured? Are there any witnesses? Is the damage extensive? Once you have a clear understanding of the situation, you can move on to documenting what happened. 2. Write down everything you remember about the accident. Include as many details as possible, no matter how small they may seem. The time of day, weather conditions, traffic patterns – all of these things can be important later on when trying to piece together what happened leading up to the accident . And don’t forget to include your own account of events – what did you see happening just before impact? What do you remember feeling during and immediately after the collision?

Credit: wilshirelawfirm.com

How Would You Describe a Car Accident in First Person?

I was in a car accident yesterday. It was a really scary experience. I was driving on the freeway when another car hit me from behind. My car spun out of control and hit the center divider. I was lucky that I wasn’t injured, but my car is totaled. I’m still in shock from the whole experience.

What is a Good Sentence for Accident?

There is no one-size-fits-all answer to this question, as the best sentence for an accident will vary depending on the circumstances.

How Do You Write a Car Accident Scene?

Assuming you want tips for writing a scene in which two cars collide: The following are some tips to keep in mind when writing a car accident scene: 1. Establish the location and time of day. This will help set the stage for the reader. 2. Introduce the characters involved in the accident. Make sure to describe them in enough detail so that the reader can picture them in their mind. 3. Describe the events leading up to the accident. This will help build suspense and tension before the actual collision occurs. 4. When writing about the actual accident, be as detailed as possible. Describe the sound of metal crunching, glass shattering, etc. The more sensory details you include, the more realistic and harrowing your scene will be. 5. Don’t forget to write about the aftermath of the accident as well. This is often where emotional scenes can take place, such as characters crying or comforting one another.

How Do You Describe an Accident for Insurance?

When you are describing an accident for insurance purposes, it is important to be as accurate and detailed as possible. This means that you should include information such as where and when the accident occurred, what happened, who was involved, and whether there were any witnesses. If you have any photographs or other documentation of the accident, this can also be helpful.

In a car accident, it is important to stay calm and assess the situation. You will want to take note of the location, time, weather conditions, and damage to the vehicles. It is also important to get the contact information of any witnesses. Once you have gathered all of this information, you can then call the police or your insurance company to file a report.

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Meet The Team

Copyright © 2024 CarcarameL | ALL RIGHTS RESERVED

Stack Exchange Network

Stack Exchange network consists of 183 Q&A communities including Stack Overflow , the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.

Q&A for work

Connect and share knowledge within a single location that is structured and easy to search.

How can I write a realistic motorcycle crash?

What are some words that can help me vividly describe a motorcycle accident as if it was being seen by the reader? What are some words that can describe that crash, with such detail that the reader can listen to the noises, smell the air, and really visualize what happened...?

• creative-writing

• The smells and sounds (rubber burning on the pavement, screaming of metal, etc) are your friends more than the images. For the actual images, I'd suggest using metaphors/similes. Motorcycle accidents are horrific because of the near certainty of being maimed/killed. Oftentimes family members are terrified when the person gets the motorcycle, that there will be some horrific accident (unlike if the person was driving) and so there can be more survivor guilt too. –  SFWriter Commented Nov 8, 2017 at 14:50
• 1 As opposed to death-like motorcycle crash? –  erikric Commented Nov 8, 2017 at 15:12
• 1 a whole bunch of youtube videos will show crashes that can help you get a visual on this. Take in the scene from what you see and translate that into words. –  ggiaquin16 Commented Nov 8, 2017 at 15:35
• My character will have a crash and be in a coma after, what I'm currently stuck in is in how I can describe the sound of the accident, the glass breaking, the wheels etc... i don't want to just use words like "boom" or "honk", "plop" etc –  Acatalepsy Commented Nov 8, 2017 at 19:05
• I really like metaphors, so I'm saying it again. "The motorcycle hit the highway barrier, sounding for all the world like the grim reaper of death bringing his sickle down. But Michael would have none of it, and fought back, refusing to die." "The wheels screamed, like all of his forebearers chastising him for the purchase, saying "I told you so...." –  SFWriter Commented Nov 8, 2017 at 22:27

4 Answers 4

As one who has experienced three (fairly mild) motorcycle crashes (two front-wheel lockups, and one caused by changing lanes over a lane divider curb), one with mild injury, I can tell you one fairly realistic way would be to jump-cut from the instant before the crash (after it's inevitable, but before anything hits the ground or the rider), to after everything stops sliding.

I recall all three of my own crashes in great detail, but that would likely be best handled in flashback, since the actual event took less than five seconds from "Oh, crap" to picking myself up. If you try to describe the events as they pass, you'll spend four or five pages covering as many seconds. That can be done, but many readers won't want to read in that level of detail for that long. If you write memory snippets later, a paragraph or two interspersed with other story material, you'll be less likely to cause readers to "work too hard."

• :) I am glad you weren't maimed or killed. –  SFWriter Commented Nov 8, 2017 at 15:04
• @DPT Me, too, no question. –  Zeiss Ikon Commented Nov 8, 2017 at 17:05
• @ Zeiss I'm glad you're okay! and yes I know everything happens so fast, things can happen in a few seconds but I want to freeze that moment and describe it. –  Acatalepsy Commented Nov 8, 2017 at 19:09
• 1 There's always the "oh, shit" moment when crashing a bike, isn't there? –  user18397 Commented Nov 8, 2017 at 21:22
• 1 @Acatalepsy - from experience, yes, in a bad crash time does seem to slow, but honestly, the first thought is "F@#k", followed by several iterations of "Oh S@#t this is going to be bad". No time for internal monologues or flashbacks/montages –  user18397 Commented Nov 8, 2017 at 23:13

The human perceptual system runs on anticipation. We understand things that play out in predictable and foreseen ways. We are disoriented by things that happen suddenly, violently, and out of the blue. We come away from those incidents with a jumble of poorly integrated memories of light and noise but no clear recollection of the specifics of the event because it was entirely outside our system of anticipation and therefore hard to interpret and remember in real time.

In a movie, you can create this kind of experience for the audience. You can strap a hero cam to the handlebars of a motorcycle and run it into the side of a wall and you will create a cinematic experience quite similar to the disorientation that we feel when we are involved in or witness a crash ourselves.

But it is very difficult, perhaps impossible, to create this same effect in prose. There are two main reasons for this. First, while a movie is recieved directly, by the same sense that receive input in a real event, prose has to be interpreted. Some writers try to create the impression of confusing events with confusing words, but the problem with this is that the confusing words interfere with the interpretation of the text, so that rather than receiving an impression of confusing events, the reader receives an impression of confusing words, which is in no way a recreation of the impressions of the event.

Secondly, while film is a synchronous media, in which multiple sounds and images can be presented in real time, prose is an asynchronous media. You can only read one word at a time and therefore things that happen simultaneously in life happen sequentially in prose. By spreading out the events into a sequence, you inherently make them less abrupt and confusing, thus lessening the impact.

Because of this, while movie are a medium of direct experience, prose is much more a medium of recollection. Stories are told after the fact (and using present tense does nothing to change this). They are recollections of events.

This does not in any way prevent them from being vivid. Our recollections can be very vivid. But our recollections are also reconstructions of events that impose and order, significance, and importance to events and sensations that was not present in the raw data of experience. This is well borne out by studies of memory and the unreliability of eyewitness testimony. It is also why the novel is a fundamentally more powerful medium than the movie.

But what this means is that the recollection of a traumatic event, such as a motorcycle crash is far more orderly than the sense impressions that occurred at the time it was happening. Whether we acknowledge it or not, our memories of such an event are really reconstructions which draw heavily on evidence gathered after the event.

So you are not going to be able to create the immediate vivid experience of a motorcycle crash in prose the way you could in a movie. That is just not what the medium is good at. Rather, if you want to portray it vividly, you must work with the recollection of the event rather than its immediate sensations.

And remember that prose depends heavily on memory in all cases. It paints no pictures and makes no sounds. Rather, it drags the memory of pictures and sounds and other sensations out of the reader's memory by a kind of leading process, which walks the reader up to the precipice of a traumatic event and then lets the reader fill in the sensations of the event from recall of events in their own lives. Most of the strong sensations produced by literature, therefore, are not produced by the prose of the moment, but by the way the writers has build anticipation in the reader. Anticipation is the source and heart of all drama. Build the anticipation to a fever pitch and you can trigger the emotions in a few words. (" Reader, I married him. ")

As a writer of prose, therefore, your tools are anticipation and recollection. Don't try treat subjects the way a movie would treat them. You don't have the tools for that in prose. But you have fundamentally more powerful tools. They simply must be used in a different way.

• (+1) For (again) an amazing answer. While I agree with it I should argue that although the visual aspects are difficult to re-create, an emotional response from the reader might be more approachable (and consequential). For this case in particular I can imagine that, for example, making the character raise its head after the fall, and discovering its arm is missing might effectively stagger the reader, especially if it breaks with the previous tone of the story. The consequence would last throughout the novel but we can truly shock/scare/sadden/etc. if we raise the stakes. –  armatita Commented Nov 8, 2017 at 16:46
• 1 @armatita Absolutely. In prose we can use anticipation and recollection to manipulate the reader's emotions in more powerful and subtle ways than movies can achieve. –  user16226 Commented Nov 8, 2017 at 17:14

My approach to this, which I stole from other authors, is to not worry about time or space and describe the action of the accident in detail, use as much space as you want.

There is an actual real life phenomenon in which adrenalin floods the brain in an emergency and it seems to slow down time. I have felt this in a rollover (car) at 75 mph, and my best friend in a separate incident was in a car crash where a coked up driver of a stolen car broad-sided him, in an intersection, traveling at over 110 mph. This threw him him through the closed driver side window of his car, which shredded both his clothing and his body, causing dozens of cuts, and sending him flying through the air to land in the street in front of another car stopped for the light. He said it felt like it took sixty seconds to complete, but in that time he could barely move his arm up so his face hit his forearm instead of the pavement (which he doesn't remember happening, but his face did hit his forearm instead of the pavement).

Regardless, just describe the scene, moment by moment, cut out what is not necessary (like any other scene). Keep track in your head that you are taking many seconds to describe something that may happen in literally less than one second, so while your narrator can take the time, don't let your fictional characters move or think at super speed.

Think of it as if you saw, in a movie, a super slow motion video of a motorcycle crash. Pick around three key points in that slow motion video to describe. How much of the broken bones, flesh left on the pavement, dismemberments or impalements or spurting ripped open arteries you want to describe is between you and your audience and what you think they can handle or expect from you, from PG to porno-horror film explicit.

• Yes!! I absolutely agree, that's what I'm trying to do; describe the scene as if it was a slow motion video of a motorcycle crash. –  Acatalepsy Commented Nov 8, 2017 at 19:20
• 1 @Acatalepsy the only thing you want to be careful of if this is what you are trying to do and be realistic is, a lot of tv shows and movies have the character see stuff like a woman standing on the side of the street they find pretty or go into these side thoughts that simply don't happen during an accident. As Zeiss stated, you could easily turn a 2 second crash into a 5 page description, but honestly most people will skip over it if it get's too deep into purple prose. I am not saying to cut out the actual action like zeiss is, but you also should be aware that over describing something –  ggiaquin16 Commented Nov 8, 2017 at 20:44
• 1 @Acatalepsy can be detrimental to the story too. People will end up spending so much time trying to focus and picture your description that it ends up being disctracting and takes them out of the story to focus on the words they are reading. Most people know what an accident looks/feels/smells like. Everyone gets into at least 1 in their life. So you don't need to describe the accident as if you are talking to an alien. Just give enough detail that allows the person to wander to the scene you want to paint. –  ggiaquin16 Commented Nov 8, 2017 at 20:46
• 1 And don't forget to leave a shoe lying on the pavement. There is always a shoe that comes off –  user18397 Commented Nov 8, 2017 at 23:15
• @Thomo haha! I promise to not forget the shoe... Thank you, I will try to give detail but not too much that it will make me fall out of the subject. –  Acatalepsy Commented Nov 9, 2017 at 4:17

I agree with those who say the briefer you are the better. You want to make it realistic, you need to keep it short. A paragraph, maybe two (for me 1 is enough), imo. An accident is an action scene and action scenes are fast moving with short, choppy sentences. If it's a flashback, then it can be slightly longer. As one pointed out the senses of smells and sounds are important. Also, don't forget the feelings of the MC, his thoughts in that split second. The accident might be part of your story but it's not the real plot, it might just lead to the real plot.

• I agree! I now see that i have too keep it short to make the accident more realistic, thankyou!! –  Acatalepsy Commented Nov 9, 2017 at 12:56

Your Answer

Reminder: Answers generated by artificial intelligence tools are not allowed on Writing Stack Exchange. Learn more

Sign up or log in

Post as a guest.

Required, but never shown

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge you have read our privacy policy .

Not the answer you're looking for? Browse other questions tagged creative-writing or ask your own question .

• Featured on Meta
• Bringing clarity to status tag usage on meta sites
• We've made changes to our Terms of Service & Privacy Policy - July 2024
• Announcing a change to the data-dump process

Hot Network Questions

• How to add content security headers in Next.js which are configurable from cms side? where to add?
• How to remove a file on a SMB share named "."?
• Does a cube under high pressure transform into a ball?
• Seven different digits are placed in a row. The products of the first 3, middle 3 and last 3 are all equal. What is the middle digit?
• How many people could we get off of the planet in a month?
• Stacked block problem & static friction
• Why don't we observe protons deflecting in J.J. Thomson's experiment?
• Is the Garmin Edge 530 still a good choice for a beginner in 2024?
• Does the overall mAh of the battery add up when batteries are parallel?
• Is sudoku only one puzzle?
• The twin prime problem and the Jurkat-Richert Theorem
• Passport - small damage on passport
• What is the origin of this quote on telling a big lie?
• Strange bearings of Shimano FH-MT410-B
• Can objective morality be derived as a corollary from the assumption of God's existence?
• block diagonal matrix
• Did anyone ever ask Neil Armstrong whether he said "for man" or "for a man?"
• How soon to fire rude and chaotic PhD student?
• Is there a good explanation for the existence of the C19 globular cluster with its very low metallicity?
• One IO to control two LEDs. When one is lit, the other is not
• Are ～渋る and ～惜しむ any different as verbal suffixes?
• If a body in free fall, according to general relativity is weightless, that is, not experiencing force, how does the object gain kinetic energy?
• Is it OK to use the same field in the database to store both a percentage rate and a fixed money fee?
• Would it take less thrust overall to put an object into higher orbit?

Get the Reddit app

A community to discuss audio drama in all its various forms. All types of fictional storytelling are welcome here. Audio drama creators are highly encouraged to promote and link to their productions.

Need Help Writing a Car Crash Scene

I'm re-writing a scene where my three characters are driving a car (unspecified make/model) on a two-lane road in a rural area at about 55 mph (90kph) and they collide with a car that was left abandoned in the road. It's snowing. Both cars need to be undrivable afterward but the characters need to be alive and relatively unharmed. I'm guessing in order for there to be survivors, the driver would need to brake and swerve somewhat before the collision?

I have never been in a major car accident. Just smaller fender-benders.

Can someone help me understand what sounds are happening during a crash and how the characters might act right before and after the crash? Just an FYI- in this story, they're in a huge hurry to get somewhere to save someone's life so they don't bother calling a tow truck or police. They just abandon the crashed cars on the side of the road.

Any advice would be greatly appreciated!

By continuing, you agree to our User Agreement and acknowledge that you understand the Privacy Policy .

Enter the 6-digit code from your authenticator app

You’ve set up two-factor authentication for this account.

Enter a 6-digit backup code

Create your username and password.

Reddit is anonymous, so your username is what you’ll go by here. Choose wisely—because once you get a name, you can’t change it.

Reset your password

Enter your email address or username and we’ll send you a link to reset your password

Check your inbox

An email with a link to reset your password was sent to the email address associated with your account

Choose a Reddit account to continue