village description creative writing

Writing Nestling

How To Describe A Village In Writing (10 Creative Words, Quotes & Steps)

Describing a village in writing is akin to embarking on a poetic journey through a miniature universe, where every word becomes a brushstroke on the canvas of the reader’s imagination.

It is an art form that transcends mere description, allowing the writer to transport readers into a world rich with sensory delights, cultural tapestries, and the lives of the people who call it home.

In this exploration of the picturesque and the profound, the village becomes not just a setting but a living, breathing character, woven into the very fabric of the narrative.

This endeavor is a symphony of words, orchestrating the senses, emotions, and experiences of the reader, inviting them to wander the cobbled streets, breathe in the scents of a bustling marketplace, and connect with the souls that populate this rustic idyll.

Join us on this literary expedition, as we delve into the nuances, the techniques, and the magic of describing a village in writing , a journey that promises to ignite the imagination and leave an indelible mark on the literary landscape.

Table of Contents

How To Describe A Village In Writing

Describing a village in writing involves capturing its essence and painting a vivid picture for the reader. Here’s a step-by-step process to help you do just that:

Observation

Begin by visiting the village or recalling your memories if you’ve been there before. Pay close attention to its unique features, such as its natural surroundings, architecture, people, and culture.

Choose a Focus

Decide on the aspect of the village you want to emphasize. It could be the landscape, the community, a specific event, or the atmosphere. This focus will guide your description.

Create an Outline

Plan the structure of your description. Consider whether you want to follow a chronological order or organize your thoughts thematically. An outline will help you stay organized.

Start with an Introduction

Begin your description with a captivating introduction that sets the tone for the entire piece. Mention the name and location of the village and provide a brief overview of what readers can expect.

Describe the Landscape

Paint a picture of the natural surroundings. Mention the terrain, vegetation, bodies of water, and any prominent geographical features. Use descriptive language to convey the beauty and uniqueness of the landscape.

Capture the Sights

Describe the village’s buildings, landmarks, and any noteworthy structures. Highlight the architectural style and historical significance of these places.

Introduce the People

Provide insight into the community. Describe the residents, their way of life, traditions, and occupations. Share anecdotes or personal encounters to make the description more engaging.

Convey the Atmosphere

Use sensory details to convey the atmosphere of the village. Describe the sounds, smells, and general ambiance. Is it bustling with activity or peaceful and serene?

Highlight Unique Features

Mention any specific customs, festivals, or events that make the village distinct. Explain their significance and how they shape the culture of the place.

Include Personal Experiences

Share your personal experiences or feelings about the village. This adds a personal touch to your description and helps the reader connect with your perspective.

Use Descriptive Language

Employ vivid and sensory-rich language. Paint a picture with your words by using metaphors, similes, and descriptive adjectives.

Organize the Description

Make sure your description flows logically. Transition smoothly between different aspects of the village, ensuring that the reader can follow your narrative effortlessly.

Summarize your description by reiterating the key points and leaving a lasting impression on the reader. You can also share your overall feelings or insights about the village.

Proofread and Edit

Review your writing for grammar, spelling, and coherence. Make necessary revisions to enhance the clarity and quality of your description.

Seek Feedback

Share your description with others and ask for their feedback. They can provide valuable input on how well your writing conveys the essence of the village.

By following these steps, you can create a compelling and evocative description of a village in your writing .

Words To Describe Village

Quaint: The village, with its charming cottages and cobblestone streets, transports visitors to a simpler, bygone era.

Serene: Nestled in a valley, the village enjoys a tranquil atmosphere, offering a peaceful escape from the hustle and bustle of city life.

Community-focused: Residents actively engage in communal activities, from shared gardening projects to local events, fostering a strong sense of belonging.

Scenic: Breathtaking vistas of rolling hills and meadows surround the village, creating a scenic backdrop that enhances its natural beauty.

Timeless: With historical buildings and traditional customs intact, the village feels timeless, preserving its cultural heritage for future generations.

Sustainable: Embracing eco-friendly practices, the village thrives on locally sourced produce and renewable energy, exemplifying a commitment to sustainability.

Welcoming: The friendly locals extend a warm welcome, making visitors feel like part of the community from the moment they arrive.

Rustic: Weathered barns and weather-worn fences contribute to the village’s rustic charm, embodying a connection to the land and its history.

Quirky: Eccentric festivals and unique local traditions add a touch of whimsy, making the village stand out with its own delightful idiosyncrasies.

Close-knit: Regular gatherings at the village square or communal spaces showcase the close bonds shared by neighbors, creating a tight-knit social fabric.

Quotes About Village

“Villages are like pearls. Each one is unique, formed with care, and treasured by those who truly appreciate their beauty.”

“Life in the village teaches us that happiness is found in simple pleasures, shared with the ones we love.”

“A village is not just a place on a map; it’s a tapestry of stories, woven together by the threads of its people.”

“Village life is a mosaic of faces, each telling a story of resilience, laughter, and the enduring spirit of community.”

Setting the Stage

Setting the stage for a village description is like selecting the perfect brush for a masterpiece or tuning the orchestra before a symphony.

It’s the magical moment when you choose the portal to transport your readers into a world where time slows, and nature’s brushstrokes paint the most exquisite landscapes.

The village you pick is the key, a hidden gem in the tapestry of your narrative, unlocking doors to a realm of sensory wonder.

The season and climate act as your mood-setters, whispering secrets of ambiance, their whispered cues woven into every word.

It’s the grand prologue to a tale of pastoral beauty or rustic mystique, and it all starts here, setting the stage for a journey of the senses.

Selecting the village for description

Selecting the village for description is a writer’s quest for the heart and soul of their narrative canvas. It’s an artful deliberation, a delicate dance between the personal and the poetic.

The village you choose can be a character in its own right, a silent protagonist in your literary tapestry. It may be a place you intimately know, where you’ve strolled its cobblestone streets and tasted the stories hidden in its nooks and crannies.

Alternatively, it might be an uncharted territory, where your research weaves an intricate web of discovery.

The choice is profound, for it shapes not only the setting but also the emotions, themes, and messages that will emerge from your work.

It’s an ode to the significance of place, a commitment to the magic of storytelling, and a promise to immerse your readers in the enchanting world you’re about to create.

Capturing the Senses

Capturing the senses in writing is akin to a symphony for the soul. It’s the art of weaving words that sing with the hues of visual tapestries, dance to the rhythm of ambient sounds, and beckon with fragrances both familiar and exotic.

With the deft strokes of a pen, a writer can conjure the warmth of a sun-soaked morning on your skin, the taste of freshly baked bread on your tongue, the whispers of wind rustling through leaves in your ears, and the fragrant embrace of a garden’s blossoms all around you.

Each sensory detail is a brushstroke on the canvas of imagination, inviting readers to not just read, but to feel, taste, hear, and smell the very essence of a world they’ve never physically inhabited.

In the realm of storytelling, it’s the symphony of senses that turns mere words into a sensory feast, captivating the heart and mind in a vivid, ethereal dance.

Visual imagery

Visual imagery in writing is the painter’s palette of words, a vivid and evocative tapestry for the reader’s mind. It’s the art of crafting scenes so rich in detail that they come alive, immersing the audience in a world of colors, shapes, and landscapes.

With carefully chosen metaphors and similes, a writer can transform mere words into living, breathing images that linger long after the page is turned.

Whether it’s the play of sunlight on rolling hills, the intricate carvings of ancient architecture, or the sparkle of stars against an indigo sky, visual imagery transcends the written word, enabling readers to see, feel, and even dream within the intricate landscapes painted by the author’s imagination.

Auditory elements

Auditory elements in writing are the symphony of sounds that bring a narrative to life. Just as a composer orchestrates melodies and harmonies, a skilled writer conducts a cacophony of sounds, creating a vivid auditory backdrop for the reader’s imagination.

Whether it’s the gentle rustling of leaves in a tranquil forest, the rhythmic cadence of a bustling market, or the haunting silence of a deserted corridor, these auditory details not only enhance the atmosphere of a story but also evoke a powerful emotional response.

The sounds of a narrative can be a conductor of tension, nostalgia, or comfort, serving as a bridge between the written word and the reader’s sensory experiences.

In the realm of storytelling, auditory elements compose the soundtrack of a world, inviting readers to listen, reflect, and become enchanted by the symphony of words.

Olfactory details

Olfactory details in writing are the aromatic keys that unlock hidden memories and emotions within a reader’s mind.

They’re the delicate fragrances that infuse a story with depth and resonance, allowing the narrative to transcend mere words and reach the very heart of human experience.

Whether it’s the mouthwatering scent of a grandmother’s apple pie, the intoxicating aroma of a forest after rain, or the pungent, acrid smell of urban decay, olfactory descriptions tap into the deeply rooted connections between scent and memory.

A well-crafted scent can transport readers to distant places and evoke forgotten sensations, making the world of a story not just visually tangible, but also viscerally alive.

In the tapestry of storytelling, olfactory details are the fragrant threads that weave the reader’s soul into the narrative, leaving an indelible imprint on their literary journey.

Human Presence

Human presence in a narrative is the heartbeat of a story, the ink that transforms words into living, breathing characters. It’s a diverse spectrum of souls, each one carrying the weight of their past, dreams of their future, and quirks that make them distinctly real.

These characters are not just names on paper; they’re the mirrors through which readers catch glimpses of their own humanity. As they traverse the pages, they laugh, cry, love, and sometimes falter, inviting readers to walk in their shoes, to embrace their triumphs and tribulations.

Whether a hero, a villain, or a complex tapestry of both, the human presence is the constellation of voices that echo within the story’s universe, each star shedding light on the human condition.

It’s a mesmerizing journey through the landscapes of emotion, a revelation of our shared vulnerabilities and the rich tapestry of human experience, a voyage that makes literature not just a pastime but a profound exploration of the heart and soul.

Characterizing the villagers

Characterizing the villagers is akin to peeling back the layers of an intricate tapestry woven with the threads of humanity. Each villager is a unique brushstroke on the canvas of a village’s collective identity, with distinct personalities, quirks, and stories to tell.

From the wise elder who carries the weight of history in their eyes to the mischievous child whose laughter fills the streets, the villagers breathe life into the narrative, shaping the very essence of the community.

Whether they are farmers tilling the soil, artisans crafting intricate wares, or storytellers passing down ancient legends, their occupations and traditions reflect the heart and soul of the village.

Through vivid characterizations, the villagers become more than words on a page; they become living, breathing beings, inviting readers to form a deep and lasting connection with the rich tapestry of human experiences that define this rural haven.

Describe the activities and interactions that define the village

The activities and interactions that define the village are the intricate dance of daily life, a mesmerizing choreography that paints the portrait of the community.

From the crack of dawn when the first rooster crows, to the rhythmic sound of children’s laughter as they chase each other through the cobblestone streets, the village thrives with its unique rituals and traditions. Farmers tend to their fields, vendors gather at the bustling market square, and families share meals under the shade of ancient trees.

Whether it’s the animated conversations at the local tea house, the spirited music of a village fair, or the whispered secrets exchanged by neighbors over picket fences, these interactions are the threads that weave the tapestry of the village’s vibrant social fabric.

It’s within these moments of connection and communion that the heart and soul of the village are unveiled, inviting readers to immerse themselves in the beauty of its daily rhythms and the warmth of its tight-knit community.

Historical and Cultural Layers

Historical and cultural layers in a narrative are like ancient manuscripts waiting to be deciphered by the curious reader. They are the archaeological digs that unearth the buried treasures of the past and the vibrant customs that breathe life into a story’s present.

Like layers of paint on a canvas, they add depth and richness, revealing the intricate tapestry of a society’s evolution. The village’s history is the silent architect of its present, leaving its imprints in every cobblestone and timeworn building.

Cultural influences, from the resonance of local dialects to the intricacies of age-old traditions, provide a unique lens through which the village’s identity is filtered.

Folklore and legends become the whispered secrets of the village, weaving tales of heroes and villains, and mirroring the dreams and fears that have shaped generations.

In the narrative’s exploration of historical and cultural layers, readers embark on a time-traveling journey through the complexities and nuances that define the heart of the village, a journey where past and present converge in a harmonious dance of storytelling.

The village’s history

The village’s history is a silent, ancient storyteller, etching its tales into the very fabric of the landscape. It is a narrative that unfolds in the gnarled bark of age-old trees, the cobblestones worn smooth by countless footsteps, and the timeworn facades of rustic cottages.

This historical chronicle paints a vivid picture of the village’s origins, revealing the trials and triumphs of its founding settlers. It whispers secrets of forgotten wars, celebrations, and the enduring spirit of the community through generations.

The village’s history provides a lens through which the present is understood, showing how it’s shaped by the footsteps of those who came before.

It’s a treasure trove of stories, waiting to be unearthed, and a testament to the enduring legacy of the people who have called this place home.

In the village’s history, readers find not just tales of the past but also a deeper connection to the essence of the community and the roots that anchor it in time.

Cultural influences

Cultural influences in a village’s narrative are the threads that weave together a rich and colorful tapestry of traditions, customs, and ways of life.

They are the mosaic of languages spoken in the streets, the vibrant festivals that punctuate the year, and the cherished rituals that have been passed down through generations.

These influences reflect the essence of the community, offering a window into the beliefs, values, and identity of its people.

Whether it’s the spicy aroma of a local delicacy sizzling in a pan, the melodious tunes of traditional songs echoing through the village square, or the vibrant colors adorning the clothing of the residents, cultural influences are the strokes of paint that define the village’s unique character.

They infuse the narrative with authenticity, allowing readers to immerse themselves in a world where history, values, and customs blend seamlessly, making every street corner, every conversation, and every dish a testament to the enduring legacy of the village’s culture.

Mood and Atmosphere

Mood and atmosphere in a narrative are the master illusionists of storytelling, conjuring emotions, and painting the backdrop of a reader’s imagination with vivid brushstrokes of feeling.

They are the unseen puppeteers, pulling the strings of heartbeats and breaths, transforming mere words into palpable sensations. Whether it’s the heavy, oppressive air of an ominous night, the crisp, hopeful dawn of a new adventure, or the enchanting, ethereal haze of a hidden forest, these intangible elements whisper secrets to the reader’s soul.

They transcend the boundaries of the page, making readers not just observers but participants in the emotional symphony of the story.

In the realm of storytelling, mood and atmosphere are the enchantresses, inviting readers to step through the looking glass into a world where emotions are tangible, where the senses are engaged, and where the very air they breathe is alive with the magic of words.

Creating a sense of place

Creating a sense of place in writing is akin to being an architect of the reader’s mind. It’s about crafting an immersive environment so tangible that one can feel the cobblestones beneath their feet, smell the rain-soaked earth, and hear the echoes of distant conversations.

The alchemy of words can turn a mere setting into a living, breathing character, complete with a history, personality, and quirks. Whether it’s a bustling city square, a tranquil mountain hamlet, or a mysterious, long-forgotten ruins, the sense of place acts as the stage where characters dance, emotions swirl, and stories unfold.

It’s a portal to far-off lands, a vessel for memories, and a key to unlocking the reader’s imagination.

In the hands of a skilled writer, the sense of place becomes the heartbeat of the narrative, allowing readers to journey not just through words but through the very soul of a world waiting to be explored.

Conveying emotional tone

Conveying emotional tone in writing is like an orchestra’s conductor, wielding the power to set the mood, to make hearts race or tears well up, and to ensure the resonance of a narrative in the reader’s soul.

Through carefully chosen words, sentence structure, and imagery, a writer can evoke a wide spectrum of emotions, from joy and laughter to sorrow and despair.

The emotional tone becomes the life force of a story, infusing it with empathy, empathy, and a profound connection between the reader and the characters.

It’s the invisible brush that paints the feelings on the canvas of words, creating an atmosphere that lingers long after the last page is turned.

In the realm of storytelling, conveying emotional tone is an intricate dance of the heart, inviting readers to not just read the words but to feel the emotions coursing through the narrative’s veins, making it a powerful and immersive experience.

Symbolism and Themes

Symbolism and themes in writing are the secret tunnels that lead to hidden chambers within the reader’s imagination, a clandestine journey through a world of deeper meaning.

They are the riddles waiting to be unraveled, the enigmatic signs that form the literary constellations guiding the narrative’s path. Like alchemical elements, they transmute mere words into profound layers of thought, offering insights into human nature, society, and the human condition.

Whether it’s a recurring motif, a subtle metaphor, or a recurring symbol, they are the whispering guides that lead readers into the labyrinthine corridors of thought and reflection.

In the tapestry of storytelling, symbolism and themes are the mysterious relics, inviting readers to decode the hidden messages, to ponder the universal truths, and to explore the intricate tapestry of meaning woven into the narrative’s very fabric.

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

What’s the best way to begin describing a village in writing.

Start by visiting the village or recalling your memories of it to observe its unique characteristics and atmosphere.

Why is it important to choose a focus when describing a village?

Choosing a focus helps you organize your description and ensures that your writing conveys a clear and engaging message.

How should I structure my description of the village?

You can structure your description chronologically or thematically, using an outline to keep your thoughts organized.

What should I include in the introduction of my description?

The introduction should provide the village’s name and location and offer a brief overview of what readers can expect in your description.

How can I effectively capture the sights of the village?

Describe the village’s buildings, landmarks, and significant structures, paying attention to architectural style and historical context.

Should I mention the people in the village?

Yes, it’s important to introduce the community, describing the residents, their way of life, traditions, and occupations. Sharing personal encounters can make your description more engaging.

What are some ways to convey the atmosphere of the village?

Use sensory details to describe the sounds, smells, and general ambiance. Convey whether the village is bustling or serene.

Are there any unique features I should focus on when describing a village?

Highlight customs, festivals, or events that make the village distinct. Explain their significance in shaping the village’s culture.

Is it okay to include personal experiences in my description?

Yes, sharing your personal experiences and feelings about the village adds a personal touch to your writing and helps readers connect with your perspective.

How can I make my description more vivid and engaging?

Use descriptive language, including metaphors, similes, and expressive adjectives, to paint a vivid picture with your words.

How do I ensure a logical flow in my description?

Organize your description to transition smoothly between different aspects of the village, ensuring that the reader can follow your narrative effortlessly.

What should I include in the conclusion of my village description?

In the conclusion, summarize key points and leave a lasting impression. You can also share your overall feelings or insights about the village.

What’s the importance of proofreading and editing in this process?

Proofreading and editing ensure that your writing is free from grammar and spelling errors, enhancing the clarity and quality of your description.

Is it beneficial to seek feedback on my village description?

Yes, sharing your description with others and asking for their feedback can provide valuable input on how well your writing conveys the essence of the village and help you improve it.

In the art of describing a village in writing , we have embarked on a journey where words are our brush, and the page our canvas.

Through the vivid tapestry of sensory details, the rich characterization of villagers, and the delicate interplay of history and culture, we have unraveled the secrets of crafting a world both picturesque and profound.

A village, once a mere backdrop, emerges as a vibrant character in its own right, inviting readers to step into its heart and experience the world we’ve painted with our words.

This exploration reminds us that in storytelling, the power lies not just in the plot but in the world we create, for it’s a world where readers can escape, explore, and expand their horizons.

The art of describing a village is a testament to the magic of literature, where words have the power to transport, captivate, and resonate, leaving an indelible mark on the reader’s soul, and promising that the world we’ve crafted will remain alive in their imagination long after the story ends.

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Novel writing ,

How to write descriptions and create a sense of place.

By Harry Bingham

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

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

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

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

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

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

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

Not so easy, huh?

Start Early

Set the scene early on – then nudge.

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

So  start early .

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

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

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

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

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

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Be Specific

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

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

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

Boom! We’re there.

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

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

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

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

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

The sentence works so well because Marquez has:

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

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

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

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

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

Be Selective With Your Descriptive Details

Be selective – don’t overwhelm.

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

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

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

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

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

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

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

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

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

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

Write For  All  The Senses

You have a nose? So use it.

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

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

Here’s another example.

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

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

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

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

That’s good stuff: do likewise.

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

Get Place And Action Working Together

That’s where the magic happens!

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

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

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

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

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

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

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

Descriptions As Active Characters

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

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

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

Do you need more help? Did you know we have an entire video course on How To Write? That course has had awesome client reviews, but it’s kinda expensive to buy . . . so don’t buy it!

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

Free Character Builder

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Use Unfamiliar Locations

And smart research ALWAYS helps.

Using unfamiliar settings adds real mood and atmosphere.

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

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

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

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

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

On the contrary:

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

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

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

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

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

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

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

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

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

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

Use Place To Create Foreshadowing

A brilliant technique – we love it!

Descriptions of place are never neutral.

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

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

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

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

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

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

Think About Your Words – Nouns And Adjectives

Specific is good. Unexpected is great!

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

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

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

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

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

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

Happy writing!

About the author

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

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How to Describe a Cottage in a Story

By Rebecca Parpworth-Reynolds

Are you writing a novel set in the countryside and need some tips to make the surroundings scenic? If you want to know how to describe a cottage in a story, we’ll explain in this post.

1. Crumbling

Breaking into small pieces.

“The once picturesque cottage stood in a state of melancholic decay, its walls cracked and weather-worn, while ivy clung desperately to the crumbling facade.”

“Within the confines of the crumbling cottage, ancient beams sagged wearily and the remnants of faded wallpaper fluttered in the draft, revealing the bittersweet story of its forgotten inhabitants.”

How it Adds Description

“Crumbling” can be used to describe a cottage that has fallen into disrepair. Often this is the case in old farming communities, or out in the wilderness. This adds a sense of mystery and intrigue to the building, as your characters and reader may question what caused the cottage to end up in such a state.

2. Old-fashioned

Belonging to the past ; not modern.

“The old-fashioned cottage exuded charm with its thatched roof, flower-filled window boxes, and a white picket fence that whispered tales of a bygone era.”

“As she looked at the cozy old-fashioned cottage, with its rustic timber frame and inviting front porch, a sense of nostalgia welled up within her.”

Describing a cottage as “old-fashioned” implies that it possesses traditional or classic architectural elements, decor, or design choices that are reminiscent of a different era and are not easily replicated. This description suggests a charming, timeless quality that may appeal to those seeking a nostalgic or vintage ambiance.

3. Pastoral

Representing pleasing features of the countryside .

“Nestled in the meadow, the pastoral cottage stood as a serene refuge, surrounded by rolling hills, blooming wildflowers, and the gentle melody of a nearby babbling brook.”

“The pastoral cottage, with its thatched roof and quaint garden, exuded an idyllic charm that perfectly harmonized with the surrounding landscape.”

Cottages are often quintessentially associated with the countryside, so describing them as being “pastoral” is rather apt. It conjures up charming images of country life, helping to create a relaxed and peaceful atmosphere for your characters and reader.

4. Peaceful

Calm and quiet.

“Nestled in a secluded woodland, the peaceful cottage seemed to radiate an air of serenity; they knew they could rest easy here.”

“As the golden rays of the setting sun cast a warm glow upon the peaceful cottage, a sense of calm enveloped the air as if nature herself were letting out a deep sigh of relief.”

Often, cottages are found in more remote locations or quiet villages, meaning that they can give off a “peaceful” aura. This is particularly true when they are described in contrast to the hustle and bustle of city life. Cottages also evoke a sense of comfort, helping people to feel at ease.

5. Picturesque

Attractive , usually in an old-fashioned way.

“Nestled against a backdrop of sheep grazing in hilltop meadows, and framed by vibrant blooming gardens, the picturesque cottage stood as a living postcard.”

“Perched by the shimmering lake, the picturesque cottage boasted charming stone walls, a thatched roof, and flower-filled window boxes, creating a scene so enchanting that it seemed plucked straight from the pages of a storybook.”

By describing a cottage in your story as being “picturesque”, your reader gets the assumption that it is almost perfect, much like what they might see in a work of art. It gives a sense that the cottage and its backdrop are to be admired.

Attractive because something is unusual or old-fashioned.

“Nestled on a cobblestone street, the quaint cottage exuded an undeniable charm that made it stand out from its neighbors.”

“Tucked away in a charming village, the quaint cottage stood as a delightful retreat, its whimsical architecture adorned with climbing vines and a cheerful red door.”

Although to some it is seen as a pejorative word, describing a cottage as “quaint” suggests that it possesses a charming and old-fashioned quality that evokes a sense of coziness, uniqueness, and nostalgia. It helps to showcase the individuality of the cottage, despite being a humble dwelling.

7. Run-down

In bad condition , usually due to overuse.

“Abandoned and forlorn, the run-down cottage sagged under the weight of neglect, its cracked windows and bowed roof a testament to the passage of time.”

“The run-down cottage stood as a mere shell, its decaying walls and broken shutters left to the mercy of nature’s reclaiming embrace.”

Describing a cottage as “run-down” highlights its bad condition and neglect. It evokes a sense of sadness, contrasting the current state of the cottage and its former glory or potential. It helps to create a vivid image of a once-charming dwelling that has fallen into disrepair for your reader.

Simple and unrefined in appearance, usually related to the countryside.

“The rustic cottage emanated a cozy and earthy charm, with its weathered wooden beams, stone fireplace, and warm candlelight that danced through the crackling hearth, showing that sometimes all one needs is the simple things in life.”

“The rustic cottage exuded a timeless charm, its weathered beams and moss-covered roof blending harmoniously with the natural surroundings.”

If you need to show that the cottage in your story is a retreat from the modern world, try describing it as “rustic”. “Rustic” places and buildings appeal to those who appreciate a more humble and traditional style of living, usually in the countryside. This helps you to illustrate to your reader the cottage’s charming simplicity and its connection to the natural world.

• Traditional and natural rather than modern and complex.

“The cottage stood as a humble retreat, its unassuming facade and unadorned charm a testament to the beauty of simplicity and the joy found in life’s most uncomplicated pleasures.”

“Amidst the tranquil countryside, the simple cottage stood as a modest sanctuary, its whitewashed walls and unpretentious design reflecting a quiet elegance that embraced a life of contentment.”

By describing a cottage as “simple”, it conveys a sense of understated beauty, authenticity, and a focus on the essentials. Often, it may not be decorated and have only the bare minimum inside. Characters who may not understand its charm might find it to be plain compared to more decadent dwellings, whereas others may see it as a paradise.

10. Verdant

Covered with plant life .

“The verdant cottage appeared as an organic extension of its vibrant surroundings, with ivy-clad walls, a thatched roof blending seamlessly with the emerald foliage, and a flourishing garden.”

“The verdant cottage was adorned with a living tapestry of climbing vines, colorful blooms, and cascading foliage, creating an enchanting haven where the boundary between indoors and outdoors blurred.”

If you wish to convey how the cottage in your story appears to be one with nature, try describing it as being “verdant”. This helps to show how it is just as much of a feature as the plant life around it, creating a true escape from city life.

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

Describe Setting Without Getting Lost in the Details

The Unheralded King of Preston Plains Middle is the debut novel from Jedah Mayberry. You can read the opening pages here .

In a story or novel, how do you describe an entire town or geographical area without getting lost in the details?

Many writers have done it, memorably Toni Morrison in  Sula and F. Scott Fitzgerald in  The Great Gatsby . Add to that list Jedah Mayberry, whose debut novel,  The Unheralded King of Preston Plains Middle , begins with a description of a small New England town that demonstrates how to distill history, culture, migration, geography, and demography into a single short passage.

The novel is new out from River Grove Press, and you can read the opening pages  here .

How the Story Works

Ernest Hemingway famously claimed that the best writing omitted far more detail than it included–meaning that a story or novel resembles an iceberg, ninety percent of which is underwater. Critics have turned this idea into a theory for art, but, in truth, it merely describes an inevitable problem faced by all writers: if you’re writing what you know, then you know more than can fit into the story. But you can’t simply include and leave out details randomly. You need a method. Mayberry’s method in The Unheralded King of Preston Plains Middle becomes clear in the first sentence:

“The village of Preston is largely defined by the things it is not, by the things its expanse of working farms and decaying historic landmarks serve to divide.”

The novel tells us explicitly how it will organize details about the town. Any that do not fit into the idea of absence or division are left out.  The Great Gatsby  does something similar in its opening description of East and West Egg:

“I lived at West Egg, the—well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them.”

In this passage, the writing quickly moves to descriptions of Jay Gatsby and Tom Buchanan. Those characters stand for the difference between the two places. As a result, the setting helps create character.

So that you can see how common this strategy is, here’s the opening of  Sula  by Toni Morrison:

“In that place, where they tore the nightshade and blackberry patches from their roots to make room for the Medallion City Golf Course, there was once a neighborhood. It stood in the hills above the valley town of Medallion and spread all the way to the river. It is called the suburbs now, but when black people lived there it was called the Bottom.”

Morrison gives us her organizing principle right away: the way the neighborhood looks now versus the way it looked then . That difference helps introduce the story, which is in part about the relations between the people who once lived in the neighborhood and the ones who have turned it into a golf course.

In all of these examples, the writers clearly identify the way they will organize details about a town or area. A place that is vast and filled with innumerable things is reduced to a single passage in a book. In other words, only the tip of the iceberg is revealed.

The Writing Exercise

Let’s follow the example set by Jedah Mayberry, F. Scott Fitzgerald, and Toni Morrison.

• Choose a town or area to describe.
• Write a definition of the town that creates two groups, a la Fitzgerald and Morrison. For instance: “Everybody there was dumb except for the cops.” Or, “The town had a railroad line running through the middle of it, but the division wasn’t between poor and rich but between people living in rundown shacks and people sleeping on the ground.”
• Now, try writing a definition of the town that identifies a broad organizing principle, a la Mayberry. For example: “The town was defined by the opportunities it had missed.” Or, “So many people had ended up in the town by accident that everything about the place seemed ruled by random chance.”
• Finally, describe the town. Use the definition as inspiration and as a guide for the details.

In both #2 and #3, you can switch the order around. So, you can write the definition but save it. List the details first and then finish the description with the definition. Either way you use the strategy, you’ll begin seeing it in almost every story and book that you read.

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Tags: creative writing exercises , creative writing prompts , descriptive language , F. Scott Fitzgerald , how to write a novel , Jedah Mayberry , River Grove Press , story details , story setting , Sula , The Great Gatsby , Toni Morrison

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Describing words for places

Ever feel stuck describing a place in your writing? “Beautiful” and “quaint” just don’t cut it anymore. You want your readers to be transported, to feel the cobblestones beneath their feet, smell the salty air, and hear the bustling city symphony. Fear not, fellow wordsmiths! This blog is your treasure map to unveiling vivid words that paint stunning pictures of locations, from bustling cityscapes to serene landscapes.

Here are 100 describing words for places along with brief explanations and examples:

• Serene – A peaceful and tranquil place. (e.g., a serene garden)
• Bustling – Full of activity and energy. (e.g., a bustling market)
• Picturesque – Visually attractive, like a painting. (e.g., a picturesque village)
• Secluded – Sheltered or hidden away from others. (e.g., a secluded beach)
• Majestic – Grand and impressive in appearance. (e.g., a majestic mountain)
• Vibrant – Full of life, color, and energy. (e.g., a vibrant city)
• Pristine – In its original condition; unspoiled. (e.g., a pristine forest)
• Quaint – Attractively unusual or old-fashioned. (e.g., a quaint cottage)
• Sprawling – Extending over a large area in an irregular or untidy way. (e.g., a sprawling estate)
• Lush – Luxuriant, abundant in vegetation. (e.g., a lush tropical rainforest)
• Charming – Delightfully pleasant or attractive. (e.g., a charming little town)
• Remote – Far away from other places, secluded. (e.g., a remote island)
• Cosmopolitan – Reflecting various cultures; worldly. (e.g., a cosmopolitan city)
• Rustic – Relating to the countryside; charmingly simple or unsophisticated. (e.g., a rustic farmhouse)
• Tranquil – Calm, peaceful, and quiet. (e.g., a tranquil lake)
• Exotic – Strikingly unusual or different in appearance. (e.g., an exotic bazaar)
• Idyllic – Extremely happy, peaceful, or picturesque. (e.g., an idyllic countryside)
• Historic – Having great and lasting importance. (e.g., a historic landmark)
• Sleek – Smooth and elegant in appearance or style. (e.g., a sleek modern building)
• Scenic – Providing or relating to views of impressive or beautiful natural scenery. (e.g., a scenic overlook)
• Cozy – Giving a feeling of comfort, warmth, and relaxation. (e.g., a cozy cabin)
• Bustling – Full of activity, excitement, and energy. (e.g., a bustling street)
• Desolate – Deserted and barren, showing a sense of bleakness. (e.g., a desolate wasteland)
• Enchanting – Delightfully charming or captivating. (e.g., an enchanting forest)
• Barren – Bleak and lifeless, lacking vegetation. (e.g., a barren desert)
• Diverse – Varied and inclusive of different cultures, backgrounds, or characteristics. (e.g., a diverse neighborhood)
• Opulent – Lavish and luxurious, displaying great wealth. (e.g., an opulent palace)
• Isolated – Far removed from other places or people. (e.g., an isolated cabin)
• Gritty – Showing the harsh reality of life, often in an urban setting. (e.g., a gritty cityscape)
• Welcoming – Friendly and inviting to visitors. (e.g., a welcoming inn)
• Mysterious – Full of secrets or difficult to understand. (e.g., a mysterious forest)
• Historic – Having great and lasting importance. (e.g., a historic district)
• Enigmatic – Puzzling and mysterious, difficult to understand. (e.g., an enigmatic ruin)
• Dazzling – Brilliantly impressive or magnificent. (e.g., a dazzling skyline)
• Contemporary – Belonging to the present time, modern. (e.g., a contemporary art gallery)
• Secluded – Sheltered or private, away from the hustle and bustle. (e.g., a secluded retreat)
• Inviting – Appealing and attractive, encouraging visitors to enter. (e.g., an inviting cafe)
• Charismatic – Exuding charm and personality. (e.g., a charismatic town)
• Industrial – Relating to the manufacturing or processing of goods. (e.g., an industrial park)
• Magnificent – Impressively beautiful or grand. (e.g., a magnificent cathedral)
• Enveloping – Surrounding and enclosing completely. (e.g., an enveloping forest)
• Mythical – Relating to or resembling myths or legendary stories. (e.g., a mythical land)
• Urban – Relating to or characteristic of a city or town. (e.g., an urban environment)
• Coastal – Relating to or near the coast. (e.g., a coastal village)
• Squalid – Extremely dirty and unpleasant, often as a result of poverty or neglect. (e.g., a squalid slum)
• Ornate – Elaborately or highly decorated. (e.g., an ornate palace)
• Harmonious – Marked by agreement in feeling, attitude, or action. (e.g., a harmonious community)
• Timeless – Not affected by the passage of time or changes in fashion. (e.g., a timeless castle)
• Resplendent – Attractive and impressive through being richly colorful or sumptuous. (e.g., a resplendent garden)
• Remote – Far away from other places, secluded. (e.g., a remote village)
• Inaccessible – Difficult or impossible to reach or enter. (e.g., an inaccessible mountain peak)
• Enigmatic – Mysterious and difficult to understand. (e.g., an enigmatic ruin)
• Hospitable – Friendly and welcoming to visitors or guests. (e.g., a hospitable community)
• Stately – Impressive in appearance and manner, often suggesting dignity. (e.g., a stately mansion)
• Hidden – Concealed or not easily found. (e.g., a hidden waterfall)
• Timeless – Not affected by the passage of time or changes in fashion. (e.g., a timeless village)
• Secluded – Sheltered or private, away from the hustle and bustle. (e.g., a secluded beach)
• Charming – Delightfully pleasant or attractive. (e.g., a charming town)
• Rustic – Relating to the countryside; charmingly simple or unsophisticated. (e.g., a rustic cabin)
• Majestic – Grand and impressive in appearance. (e.g., a majestic castle)
• Exotic – Strikingly unusual or different in appearance. (e.g., an exotic island)
• Cozy – Giving a feeling of comfort, warmth, and relaxation. (e.g., a cozy cottage)
• Tranquil – Calm, peaceful, and quiet. (e.g., a tranquil forest)
• Serene – A peaceful and tranquil place. (e.g., a serene lake)
• Lush – Luxuriant, abundant in vegetation. (e.g., a lush garden)
• Pristine – In its original condition; unspoiled. (e.g., a pristine beach)
• Welcoming – Friendly and inviting to visitors. (e.g., a welcoming hotel)
• Charming – Delightfully pleasant or attractive. (e.g., a charming village)
• Secluded – Sheltered or hidden away from others. (e.g., a secluded retreat)
• Quaint – Attractively unusual or old-fashioned. (e.g., a quaint town)
• Vibrant – Full of life, color, and energy. (e.g., a vibrant market)
• Scenic – Providing or relating to views of impressive or beautiful natural scenery. (e.g., a scenic trail)
• Remote – Far away from other places, secluded. (e.g., a remote cabin)
• Historic – Having great and lasting importance. (e.g., a historic site)
• Picturesque – Visually attractive, like a painting. (e.g., a picturesque landscape)
• Bustling – Full of activity and energy. (e.g., a bustling plaza)
• Vibrant – Full of life, color, and energy. (e.g., a vibrant city center)
• Cozy – Giving a feeling of comfort, warmth, and relaxation. (e.g., a cozy cafe)
• Tranquil – Calm, peaceful, and quiet. (e.g., a tranquil garden)
• Charming – Delightfully pleasant or attractive. (e.g., a charming village square)
• Lush – Luxuriant, abundant in vegetation. (e.g., a lush valley)
• Contemporary – Belonging to the present time, modern. (e.g., a contemporary art museum)

Now it’s your turn! Share your favorite descriptive words for places in the comments below. Let’s build a vibrant vocabulary together!

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10 Paragraphs: My Village

Nestled amidst rolling hills and picturesque landscapes, my village holds a special place in my heart. Writing a paragraph about my village allows me to capture the essence of its charm, community spirit, and natural beauty. From the friendly faces that line the streets to the tranquil sights and sounds of rural life, my village is a tapestry of memories and experiences waiting to be shared.

Table of Contents

Tips On Writing A Paragraph On My Village

Highlight the community: Discuss the sense of community that permeates your village. Describe the friendly faces, close-knit relationships, and the warm greetings exchanged among neighbors. Explore the traditions, festivals, or events that bring the community together, creating a sense of belonging and camaraderie.

Engage the senses: Appeal to the senses to evoke a strong sensory experience of your village. Describe the sounds of birds chirping, the scent of freshly cut grass, or the aroma of local delicacies wafting through the air. Convey the feeling of walking on cobblestone streets or the sensation of cool breeze on a summer evening. Engaging the senses adds depth and authenticity to your description.

Reflect on personal experiences: Share your personal experiences and memories of your village. Discuss the moments that have left a lasting impression on you—the scenic spots you love to visit, the hidden gems that hold special meaning, or the encounters with locals that have touched your heart. By infusing your paragraph with personal anecdotes, you provide a unique and authentic perspective on your village.

Paragraph 1

Paragraph 2.

In my village, community is at the heart of everything. As I stroll through the streets, friendly faces greet me with warm smiles and hearty hellos. Neighbors gather at the local market, exchanging stories and laughter. Festivals are celebrated with great enthusiasm, bringing the entire village together in a colorful display of traditions and joy. The sense of belonging and camaraderie within the community is what makes my village feel like a big, extended family.

Paragraph 3

Steeped in history, my village holds secrets of the past waiting to be discovered. Ancient buildings with timeworn facades stand as a testament to the generations that have called this place home. The village square, with its quaint cobblestone streets and centuries-old stone fountain, is a window into a bygone era. Exploring the nooks and crannies of my village is like stepping back in time, unraveling the stories of those who came before us.

Paragraph 4

Paragraph 5.

As the sun sets over the horizon, casting a warm golden glow, my village transforms into a magical realm. The flickering lights of street lamps illuminate the narrow lanes, casting enchanting shadows on the ancient walls. Stars twinkle brightly in the clear night sky, while the distant sound of crickets provides a soothing symphony. It is during these quiet evenings that the true beauty and serenity of my village come alive.

Paragraph 6

In my village, time seems to slow down, allowing for moments of reflection and introspection. The peaceful ambiance invites contemplation and self-discovery. Whether sitting under a towering oak tree or finding solace at the village’s peaceful sanctuary, there is a sense of serenity that permeates the very essence of my village. It is a place where one can escape the hustle and bustle of the outside world and find a quiet sanctuary for the soul.

Paragraph 7

Paragraph 8, paragraph 9.

Education is highly valued in my village. Children gather eagerly at the local school, their laughter echoing through the hallways. Dedicated teachers impart knowledge, nurturing young minds and fostering a love for learning. The village library is a treasure trove of books, inviting residents to delve into stories and embark on adventures from the comfort of their own imaginations. The pursuit of knowledge is a cornerstone of my village’s identity.

Paragraph 10

About mr. greg.

How To Improve Your Descriptions In Creative Writing

Writers are forever looking for new ways to improve their creative writing craft. The advice is endless too, ranging from niche writing rules to do with plotting to tweaking the way you write your prose and descriptions.

In this guide, we’re going to focus on the latter—improving your descriptions in your stories. And we have some very useful and easy-to-follow tips and advice that can help you make massive changes to your craft in a short space of time.

Let’s kick things off with one of the most important tips: using the five senses.

Use The Five Senses

One of the most powerful tools you can use when it comes to improving your descriptions in writing is to use the five senses.

By this we mean creating descriptions that relate to the likes of sight, touch, taste, sound and smell.

While sight and sound are the most used senses in writing, touch, taste and smell can be underused. These senses are some of the most powerful and can provoke images and memories in a person’s mind.

By using the  5 senses in writing , you can draw your readers deeper into the story and scene. They’ll be able to feel what it’s like to be the characters involved and what it’s like to stand in that scene. It’s one of the best literary devices for descriptions and if you start including them today, you’ll notice a massive improvement in your writing.

To make a start using the five senses, place yourself in a scene and go through each sense in turn, listing the ideas that come to mind. Then pick some of your favourites and try and work them into your scene.

Try Using Sensory Details

Linked to using the 5 senses, incorporating sensory details into your writing has the potential to enhance the reader’s experience by making the narrative more vivid and immersive.

Sensory details engage the five senses—sight, sound, smell, taste, and touch—allowing readers to experience the story as if they were part of it. However, it expands upon the points above by encouraging you to zoom in on details that we can appreciate with our senses.

For instance, instead of saying “The kitchen was warm,” you could say “The kitchen enveloped him in a comforting warmth, the aroma of freshly baked bread filling the air, and the faint hum of the refrigerator creating a soothing backdrop.” This description not only paints a clear picture but also evokes smells and sounds, making the scene more tangible and engaging.

Sensory details anchor readers in the moment, transforming abstract ideas into concrete experiences.

They heighten emotional impact and help build atmosphere, whether it’s the eerie creak of floorboards in a haunted house or the vibrant colours of a bustling marketplace. By appealing to the senses, you create a multi-dimensional world that readers can easily visualise and connect with emotionally.

In essence, sensory details breathe life into writing, transforming flat descriptions into rich, textured experiences. This technique deepens reader immersion and enhances the overall storytelling, making your narrative more compelling and memorable.

Use Metaphors And Similes

Metaphors and similes are powerful tools in creative writing. In short, they can enhance descriptions by creating vivid, relatable images in the reader’s mind.

A metaphor equates one thing to another, such as saying “Her eyes were stars,” to imply brightness and beauty. A statement like this can convey complex ideas and emotions which can help improve the narrative without lengthy explanations.

Similes involve using “like” or “as,” to compare two different things with the aim of making descriptions more relatable. For instance, “He was as brave as a lion” immediately evokes courage. These figures of speech not only paint clearer pictures but also trigger sensory experiences and emotions in our minds, which can make scenes more immersive.

So by transforming abstract concepts into tangible images, metaphors and similes bring depth and resonance to writing, making it memorable and engaging. In other words, they bridge the gap between writer and reader, turning words into a shared experience.

Don’t Use Too Many Adjectives

It may sound counter-productive to limit the amount of adjectives and descriptive words you use, but it can actually have a positive impact.

In short, cutting adjectives can enhance the clarity and impact of your prose. Adjectives, while useful for adding detail, can clutter sentences and slow down the narrative if overused. By paring them down, you force yourself to choose stronger, more precise nouns and verbs, which convey vivid images and actions.

For example, instead of saying “the tall, dark, and mysterious man,” you might say “the shadow loomed.” This not only tightens the sentence but also injects more atmosphere and intrigue, making the writing more dynamic and engaging.

Excessive adjectives can also lead to telling rather than showing a story. Writing “the beautiful, serene garden” is less evocative than describing the garden with specific details that evoke beauty and serenity, like “Butterflies flitted among the blooming roses.” This approach invites readers to visualise the scene themselves, making them active participants in the storytelling process.

By limiting adjectives, your writing becomes more powerful and evocative. It encourages concise, vivid imagery, allowing the narrative to flow more smoothly and keeping readers immersed in the story. In essence, less can indeed be more, leading to a more compelling and polished piece of writing.

If you want to make some big changes to your writing, then using the key tips covered here can help. In particular, making good use of sensory descriptions and reducing the number of adjectives can help liven up your prose writing.

The key thing to do is to keep practising with these tips in mind. Before you know it, you’ll begin to notice those improvements.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

The Rural Setting Thesaurus: A Writer’s Guide to Personal and Natural Places

Within the pages of a book exists a world drawn from a writer’s deepest imaginings, one that has the ability to pull readers in on a visceral level. But the audience’s fascination will only last if the writer can describe this vibrant realm and its inhabitants well. The setting achieves this by offering readers a unique sensory experience. So much more than stage dressing, the setting can build mood, convey meaning through symbolism, drive the plot by creating challenges that force the hero to fight for what he wants, and trigger his emotions to reveal his most intimate feelings, fears, and desires.

Inside The Rural Setting Thesaurus, you’ll find:

• A list of the sights, smells, tastes, textures, and sounds for over 100 settings revolving around school, home, and nature
• Possible sources of conflict for each location to help you brainstorm ways to naturally complicate matters for your characters
• Advice on the many effective ways to build mood, helping you steer both the character’s and readers’ emotions in every scene
• Information on how the setting directly influences the plot by acting as a tuning fork for what a character needs most and by testing his dedication to his goals
• A tutorial on figurative language and how different descriptive techniques can bring settings alive for readers while conveying a symbolic message or deeper meaning
• A review of the challenges that arise when writing description, as well as special considerations that apply specifically to rural and personal settings

The Rural Setting Thesaurus takes “show-don’t-tell” to new heights. It offers writers a roadmap to creating fresh setting imagery that impacts the story on multiple levels while keeping readers engaged from the first page to the last.

For a sneak peak,  click the following image to preview this book at Amazon  (contains an affiliate link) .

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Guess what? This popular book has a partner: The Urban Setting Thesaurus .

The Urban Setting Thesaurus helps you tailor each setting to your characters while creating a realistic, textured world readers will long to return to, even after the book closes. Click the image to see a preview.

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July 8, 2023 at 11:35 am

I just bought the book from Amazon. Where is it??

July 8, 2023 at 4:50 pm

I’m sorry you had trouble with receiving your book. I don’t know if it is a kindle or a print book, but Amazon I’m sure will sort this out for you if you get in touch. We don’t have anything to do with the process when it comes to Amazon – delivery of books are handled only by them. I believe it you go to “my orders” on your Amazon account, you can see the status of whether they say an item has been delivered or not, and contact them if you didn’t receive it. I hope this helps.

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My Village Essay for Students and Children

500+ words essay on my village.

My Village Essay- My village is a place that I like to visit in my holidays or whenever I feel tired and want to relax. A village is a place that is far away from the pollution and noise of the city. Also, you feel a connection with the soil in a village.

Moreover, there are trees, a variety of crops , diversity of flowers, and rivers, etc. Besides all this, you feel the cold breeze at night and a warm but pleasant breeze in the day.

The Facts About the Village

Around more than 70% of India’s population resides in villages. Likewise, villages are the main source of food and agricultural produce that we consume. After independence, the villages have grown much in both populations as well as education .

Village peoples are more dedicated to their work then the people of the city also they have more strength and capacity then urban area people.

Moreover, the entire village lives in peace and harmony and there is no conflict of any kind. Villagers come forward in each other sorrows and happiness and they are of helpful nature.

Most importantly, you can see stars at night which you no longer see in the city.

Get the huge list of more than 500 Essay Topics and Ideas

Description of My Village

My village exists in a low lying area that has a warm summer and a chilly winter. Mostly I visit my village in summers because of the holidays. Although the village is far cooler than the city during the summer. Also, you do not need air conditioners in a village because of the breeze. In a village you see greenery and almost every household has a minimum of one tree in their courtyards.

In addition, the thing that I like the most about my village is the fresh and revitalizing air. The air gives a feeling of refreshment even if I have slept for 4-5 hours. Most importantly, at night I see and count stars which I can’t do in the city.

Importance of Village

Villages existed in India from ancient times and they have been dependent on each other for the demand and supply of goods. Likewise, they contribute a lot to the growth and development of the country. India is a country who depends on agriculture more than its secondary and tertiary sector.

Also, India is the second most populated nation of the world and to feed this big population they need food which comes from the villages. This describes why they are important to us and everybody.

In conclusion, we can say that villages are the backbone of the economy. Also, my village is a part of all the villages in India where people still live in peace and harmony . Besides, the people of the villages are friendly and lives a happy and prosperous life as compared to the people of urban areas.

FAQs about My Village

Q.1 What is the best thing about the villages? A.1 There are many good things about villages such as fresh air, rivers, trees, no pollution, the earthy smell, fresh and organic food, and many more great things.

Q.2 Do villages lack in development? A.2 No, villages have developed quite well also they are developing at a pace faster than the cities.

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Which extract is better?

The first extract, the second extract.

Reach229 New Member

Describing towns and cities. opinions wanted.

Discussion in ' Setting Development ' started by Reach229 , Mar 12, 2009 .

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Hi all, im new to this forum so im not entirely sure what im doing, but if someone could help me that'd be really great. I just wanted to know, out of the following two paragraphs, which do people think is the best description of a town? They're extracts from two of my books, and are about different towns that are just passed through in the story, so are by no means important. I have my suspicions, but would really like some confirmation, so please, if you have a few minutes on your hands please give them a read and let me know which you think is best! First Extract: Soon enough, the group had met like usual outside the hotel where the contrast with the town of Terra became apparent. The town itself, was a beautiful and charming Mediterranean village of stone and whitewashed walls. And it was indeed surrounded by the system of trenches and bridges which prevented the town expanding so each building was packed tightly together making the streets narrow and overshadowed. Because of this there were street lamps scattered in the streets making vehicle travel impossible. However in the middle of this beautiful town the giant casino hotel lay. The building was metal and glass and the architecture was all wrong. It stood out like a sore thumb and the group had a sneaking suspicion the locals felt the same way. But it wasn’t their problem, they didn’t plan to be here too long. Second Extract: By that evening, the group could see from the top of a hill the town known as Fhlinas, it was a grey, country town with many small houses and structures scattered around a valley floor, through the centre ran a river that headed west to the ocean and over this, only two bridges joined the two halves of the town. The town lay peaceful and serene with very few people roaming the streets in brightly coloured, middle class type clothing. As the six entered they aimed to locate an inn or hotel and did so with relative ease. The pub Inn, called the ‘Haymaker’ was the biggest building in the town, save for the church-type building at the northern edge of the town, thanks to its steeple. The pub was of a thick grey stone and the streets around were lined with cobbles. thanks for your time!  

CharlieVer Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); It was a hard decision. Both painted an image for me, the first perhaps slightly better than the second, but both could use work. In the first extract. Analogies are good, but "stood out like a sore thumb" is a cliche. I'd go for an original analogy. Not a big deal, but you used "beautiful" twice. I like to vary my adjectives. I'm also not crazy about "the architecture was all wrong." I'd replace it, perhaps with "seemed out of place." Whose point of view is this from? It should be from a character's point of view, I think, and not "the group," although that would depend on surrounding context. In the second extract. A grey country town? The town was the color grey? I'd like to see some more details. In both extracts: Rather than vague adjectives like "beautiful," "peaceful and serene," I'd like more visual details. What was beautiful, peaceful and serene about it? There seemed more visual details in the first extract (the whitewashed walls) which is why I picked it. More significantly, I'd also like to see utilization of other senses than sight. Make the reader smell the town, feel the dry heat (or the cold dampness?), hear the sounds (the few people in the street... do their footsteps echo in the silence? is there a cawing of a bird in the distance, the sounds of far-away trucks, or is it silent?), even taste the air. Although you don't necessarily need to fully describe all five senses, mixing the sounds and the smells and other senses helps the reader feel like they're there, walking along with your characters! I hope I haven't been too harsh, and I hope I've helped! Best of luck! Charlie  

mammamaia nit-picker-in-chief Contributor

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); this is in the wrong section... this section is for suggestions related to the site itself... you should ask a mod to move it...  

Rei Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Besides, you're supposed to give reviews before you ask for any comments on your own writing.  

Aeroflot New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); The way you portrayed the town in the first extract is much more appealing to me, but the second extract was written much cleaner. If you rewrote the first one using the same style, then it would work. I think the problem with the first passage is the punctuation. Ask somebody to give you some advice on that because punctuation isn't my strong point.  

TwinPanther13 New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); The Second is better written and the first has a lot of imagery but is poorly written. Both could Use better writing but the second is noticibly cleaner. I think My spelling is horrible here stupid one hand typing  

Vayda New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); I like the second better. The first contains a lot of information that I don't, frankly, care at all about. And it's really unnecessary in a town that the group is just passing through. It makes it hard to read and easy to glaze over. The second is much cleaner and easy to read. The first tries to diagram the city, the second paints a picture.  

Dalouise New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); In my opinion you have far more problems with the quality of writing than the town descriuptions as such. Do some reviewing of other work on here until you "qualify" for a review on your own work and you will get some constructive criticism.  

Benska New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); I agree with most who say that the first has better imagery, whereas the second is much better/cleaner written. I'm not going to nitpick, but one thing is that you described it from the group's point of view in both examples; each individual character would see the town a different way, notice different things. For example, a more apathetic, or pesamistic character might only see the blandness of the whitewashed walls, the narrow streets which are preventing a relatively comfortable drive through the city, or the lacklustre shine of the streetlights. Howerver possibly a more cultured character may appreciate the historic value of the buildings etc. Anyway, you see my point... hopefully. But, as CharlieVer mentioned, it depends on the surrounding context. Hopefully I helped.  

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Wow thanks for all the comments, I'm taking them all into account and am glad to see that most people feel the same way about the work as I do. But I think I should probably explain a few things, as I think i've 'peed' a few people off here. As I said, Im totally new to this forum so didn't really know about the whole 'review and be reviewed' thing, but it seems completely fair so I'll definately go along with that. And I'm sorry for posting this in the wrong forum, I just saw the word 'feedback' and jumped ahead of myself! The stories each extract came from are both narrated in third person, and 'the group' (who I didn't see need to mention in more detail) each have varying personalities, so for instance, Benska, you can see how it would be difficult for me to consider the town from one persons view. Aeroflot and twin panther, your ideas were just what I had been thinking myself, when I found these parts I thought that the first one (incidentally, a much older piece of work) painted a better picture, but was written far worse than the second (a less old piece). Indeed, if I were to rewrite the first one, I would change a lot in terms of punctuation, grammar and layout. And Charlie, I wouldn't call your words harsh... In fact it's just that kind of 'kick up the rear' talk I need to hear sometimes. I totally agree with all your comments, especially the cliche 'sore thumb' nonsense (hey... We were all young once =D). Once again, I really am sorry if I've annoyed anyone, And thanks again for all the comments, Reach,  

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); As I said, Im totally new to this forum so didn't really know about the whole 'review and be reviewed' thing, but it seems completely fair so I'll definately go along with that. And I'm sorry for posting this in the wrong forum, I just saw the word 'feedback' and jumped ahead of myself! Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Reach229 said: ↑ Aeroflot and twin panther, your ideas were just what I had been thinking myself, when I found these parts I thought that the first one (incidentally, a much older piece of work) painted a better picture, but was written far worse than the second (a less old piece). Indeed, if I were to rewrite the first one, I would change a lot in terms of punctuation, grammar and layout. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Reach229 said: ↑ The stories each extract came from are both narrated in third person, and 'the group' (who I didn't see need to mention in more detail) each have varying personalities, so for instance, Benska, you can see how it would be difficult for me to consider the town from one persons view. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); benska said: Well then, consider my post irrelavant. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Perhaps you'll take this as a lesson to learn the rules when you go somewhere new, on line or else where. You would have known this if you had read the rules of introduced yourself. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); mammamaia said: ↑ to return the 'favor' you did me in the german title thread, 'elsewhere' is 1 word, not 2... and there's something seriously amiss with, 'if you had read the rules of introduced'... ;-) friendly-bantering hugs, m Click to expand...

love2listen New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Your sentences sound a bit tangled is the best way I can phrase it. You might want to straighten them out a bit. Like maybe rearrange the wording so it flows better. As an example, I would rephrase the first sentence as: "Soon enough, the group met, as they usually did, outside the hotel; here the contrast with the town of Terra was apparent." Do you see what I'm saying?  

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); still badly tangled... and a mix of tense/time... best course would be to divide up what is too much crammed into one over-wordy sentence and make it make better sense... such as: Before long, the group met outside the hotel, as they usually did. There, the contrast with Terra became apparent. Click to expand...

laciemn New Member

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); Aeroflot said: ↑ The way you portrayed the town in the first extract is much more appealing to me, but the second extract was written much cleaner. If you rewrote the first one using the same style, then it would work. I think the problem with the first passage is the punctuation. Ask somebody to give you some advice on that because punctuation isn't my strong point. Click to expand...

Neha Beyond Infinity. Contributor

googletag.cmd.push(function() { googletag.display('funpub_306b3f526b33b695178c56ab60a546ac'); }); I liked the picture painted by the first extract better, so I voted for it. But I feel that you'd get a better result if you combine the two, so I sort of did one as an example(hope you don't mind): By that evening, when the group met, as usual, outside the hotel, the contrast from the town of Terra became obvious. This town, known as Fhlinhas, was a Mediterranean village of stone and whitewashed walls based around a river that headed west to the ocean. Two bridges criss-crossed over the river and linked the separate parts of the town together. It was a quaint little town, sorrounded by a system of trenches and bridges that prevented it from expanding, so the buildings were built close to each other and the streets were narrow and overshadowed. Travelling by vehicles was impossible in these streets due the presence of scattered street lamps and the streets had very few people, all dressed in a bright colorful and a typically middle class fashion. However, what flawed the beauty of the place was the giant casino hotel that lay right at the heart of the town. The building was a screaming architecture of metal and glass and scarred infrastructure. It stood out like a sore thumb, and the group had a sneaking suspicion that the locals felt the same way. But it wasn't their problem. They did not plan to be here too long. Forgive me for any grammer mistakes, my grammer's not all that great.  

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Chaotican Writer

A blog about worldbuilding, TTRPGs, and fantasy/sci-fi!

• Worldbuilding

Worldbuilding: A Glimpse into Medieval Town Life

Capturing the look and feel of a place in writing can be challenging. Fortunately, different kinds of genre fiction have some standard inspiration to pull from. For fantasy much of that inspiration can be drawn right from history. In this piece, we take a quick look into medieval towns, and town life in the medieval ages.

There’s never only one thing that characterizes fantasy, but as we’ve seen, most of these stories are cast in the backdrop of the European high medieval era, or some variation of it. While this time is rife with mythology about dragons, grand kingdoms, wizardry, and magic, one thing that sometimes get overlooked are the day to day details of what life in this era is like , including details on it’s various hubs of civilization, from villages to cities.

Today, I’d like to talk about the emergence of towns and cities, what medieval life looked like to someone living in that era, and pull some inspiration from it.   Many of these things may be familiar to you, but theres rarely an opportunity where a writer, world-builder, historian, or other enthusiast doesn’t enjoy an immersive dive into this environment.

A few disclaimers: This article does not cover castle life or the ongoings of royal courts. Also, the sources for this overview come from Western European examples. Also, this article does not cover all aspects of medieval life, and is more focused on the emergence of towns and cities. Naturally, there’s so many fine details, so many nooks to see, so many cracks to fill in. However, let me just skim the surface and bring you into this environment. So, let’s dig in!

Life in the Middle Ages

In the high middle ages, much like today, your experience of the world was highly dependent on your role in society. You may be a peasant tilling the fields daily for a local lord, and treking to town once a few months, or once a year to offer goods to market. You may be a traveling merchant who is used to using the main roads, and witnessing town life in various corners of the countryside. You might be a lords or nobles personal messenger, a knight answering the call of war, clergyman, prioress, miller, blacksmith, scholarly clerk, noble… too many to count. In any case, your world is colored to the shade of your station.

Yet, regardless of shade, there are certain aspects that overlap into the full range of colors. One of the best pieces of literature that captures different walks of life is Canterbury Tales by Geoffery Chaucer . In this work, thirty individuals meet at the Tabard Inn, and decide to engage in a storytelling contest as they travel on their pilgrimage, each characters story depicting a unique view of life in this era stylized in various genres. What follows is a series of unique views of life within the era which take on various genres; romances, old legends, mystical fables, and allegorical tales. Together, readers witness a collage of the spiritual, the mundane, the fortunes and misfortunes of each soul embarking upon this journey.

Medieval Town Life: The Beginnings

In truth, medieval towns were few and far between. Most people within medieval Europe lived outside of the boundaries of towns as village peasants. However, the places where people congregated were often religious centers which benefited from geography which allowed stable construction and access to natural resources.

These budding towns often grew around central structure of some kind. The smallest could have a chapel at its center, a warehouse, a mill, or a pub or tavern which doubled as a town hall. Medium and large towns would typically spawn either from continued growth, or around a larger structure such as a castle, monastery, or similar. Some of the largest towns in England were cathedral cities (Canterbury, York, Bath, Lincoln, etc), which were often the site of pilgrimage.  

Often, the streets following these structures were forced to adapt to the mound, hillside, river-bank, or landscape feature which the structure settled on. This sometimes meant meandering streets with irregular width, which required frequent maintained, lest they decay over time.

Trade and Guilds

The biggest attractor to these towns, however, was not religious pilgimage. It was the benefits of trading in the market. While they posed as a consistent center of trade, market fairs would pop up during vital growing seasons, pulling in villagers, traveling merchants, and others of seasonal visitors until the fair had ended.  

Larger towns and cities would not only attract visitors from a broader region, but these larger settlements would draw in craftsmen from viable trade, and witness the establishment of guilds.  

Guilds were the earliest form of corporation in medieval Europe, and the most prominent guilds emerged during the 12 th century. Members often worked on their own account, and sold at the market. Those of the same occupation were gathered on the same street. (Tanners Street, Saddlers street). Each trade had its common coffer, its banner bore its respective patron saint, and each maintained its own regulations which specified conditions for admittance to the trade, who can vote in assembly, and provision meant to guard the honor and economic prominence of the guild .

Of course, trade could not survive the threat of catastrophe. Wars were frequent. Feuds between settlements and bandit raids could test populations living in a community. Even for towns, defenses were necessary.

Therefore, towns and cities were often surrounded by moat, or a wall. Depending on how prosperous the town, it could be shallow moats with wooden logs carved to a point, or trenches with clay brick or masoned stone. These wall could even have towers, either round or square. This gave an overlook for the town watch, and were intended for defense as well as decoration. One example of a sizable city was Nuremberg, known to have more than 80 towers in total.

Entering such a settlement would only be permitted through access gates, carefully watched. These were almost always closed at night to prevent nefarious types from entering under cover of darkness.

Map of Dublin – 1610 – Image

Map of Nuremberg – 1648 – Image

City-Planning

City planning was not much of a consideration until later in the era, and mainly for larger cities. The perimeter of walls meant that the area within was limited. Larger area meant more walls, which meant more overhead to keep the security of the town. Therefore, streets were kept narrow, premising only foot traffic and small carts. Streets were picturesque, but crowded, and full of obstacles preventing a comfortable movement across town.  

It was later in the medieval era where cities decreed that key arteries in the city must be wide enough for a single knight to reach out in each direction with his lance. If an important avenue was not wide enough to do so, buildings would be torn down and rebuild to accommodate it. This is also why you are often to see houses and buildings with a narrower ground floor, with upper floors built wider, overhanging on large wooden beams so that they hung over the edge of streets. 

However, towns and cities with deep history would have a combination of these two, older streets narrow and twisting, and large avenues wide with overhanging buildings. The most prominent of these streets or avenues were key arteries that stretched from the city gate to the central, as jagged or straight as the landscape would allow.

Many houses were built of wood, and the peaked roof was ornamented by a gable, or turret. These houses reflected the rank of those who lived in them. Those of greater wealth, honor, or nobility could look like a small fortress in the midst of the dense city buildings. Naturally, as professions in mining, stonecutting, and masonry became more prominent in the late middle ages into the 17th century, stone structures soon became the norm even amongst the poor. This was a vast improvement over wood as it allowed for a warmer and drier interior.

Government and History

While the scope of this article is medieval town life, its important to place it within the broader world. In the world that existed past the fall of the Western Roman Empire, after the chaos of failed successor states and barbarian raids, the Church managed to maintain literacy and religion. With the rule and passing of Charlemagne, what eventually emerged was a system of land owners and vassals known as feudalism. This military aristocracy maintained the class divisions between serfs/peasants, knights, and noble lords, albeit in a tenuous manner. Knights were mostly autonomous, and maintaining loyalty and conducting taxation effectively was a challenge.

The mid-and-late middle ages saw improvement to this system, as the ascension of strong kings and papal supremacy allowed stable systems of regulation, trade, and common law. Eventually, a region dominated by force and war would see the rule of law slowly prevail, though the rise and fall of Kings was frequent, with little hope of returning to the days of the Romans with a widespread, centralized order.

Far too much history exists in the middle ages to address in short words what this meant for town life, but the moving and shaking of Europe gave way to barbarian raids, changing dominions, Crusades, class oppression, city-states with mini-republics, knight orders, reprised trading across longer distances, the Reformation, resulting religious turmoil, multiple plagues and pandemics, emergent trades and technologies, absolutist monarchies, and eventually the precursors to our modern nation-states.

Law and Punishment

To understand law enforcement we need to understand that oversight was a limited affair in the olden days. Aside from the broad regulations of lords or kings, most towns were self-governing with local courts. They were guided by their own customs, with their own set of penalties and offenses, and their own methods of court procedure and enforcing local ordinances.

In the country-side and small towns, law enforcement was communal. Anglo-Saxon tradition, for example, grouped people into tithings of ten people who were responsible for one another. When a criminal committed wrong-doing, the community would call a posse to apprehend them by “hue and cry”.

Larger communities would have a community appointed officer who was tasked to keep the peace. They held the title of constable, beadle, or watchmen. However, sometimes this was not enough, such as with uncontrolled bandit problems, or with local lords who terrorized towns with private armies which became a growing threat. In time, centralized control would emerge as monarchs appointed their own Justices of the Peace.

Fair arbitration was not often the norm, and punishments were often harsh. Trials by ordeal, for instance, were the things of superstition and pseudo-science, and its examples were iconic; if one dunked in a cistern of cold water sank, they were innocent. If one grasped a red hot iron and walked a number of paces, based on how the wound healed or festered in three days determined their guilt. Many more examples exist of varying levels of primitive.  

However, not long after did this era see a drastic evolution from ordeals in the 12 th century, to the buddings of a criminal justice system with proper juries in the 13 th century.

Wrapping up our Glimpse

This segways to perhaps the biggest takeaway of this piece. The era of the middle ages was so long, broad, and irregular that these pieces of culture saw a wide range of changes. Commoners, merchants, knights, and lords witnessed different qualities of life and customs between generations and centuries. In some ways, this shaped the lives of those living in these communities. In others, little much changed.

What I hoped to provide was a glimpse of this era through the words of not just historians, wars, or kings, but through the experiences of people. Even if we’re unable to truly understand the experience of someone in a place and time so long ago, these hints in history give us much to imagine. And that much, we have our own experiences to compare, and plenty hints work with.

Greetings, traveller! Are you seeking more content to fill your historical noggin and stimulate your imagination? Check out these articles below:

• Worldbuilding: 36 Types of Government (Part 1)
• Worldbuilding: 36 Types of Government (Part 2)

Or perhaps you’re looking for some fantasy or writing-related content. Check out these pieces below for more:

• 25 Fantasy Writing Prompts and Story Ideas
• Hard vs Soft Magic: A Fantasy Spectrum
• Character Development: Interviewing Your Character!
• Storybuilding: Save the Cat! Beat Sheet

IMAGE CREDITS: Featured photo obtained via Pexels , Free License, provided by user: Min An. … Photos obtained via  Pixabay, Free License, provided by users: inkflo, MemoryCatcher, JACLOU-DL, and  terimakasih0. … Illustrations are remastered public domain images from the  British Library , and Maps are historic public domain illustrations, dated accordingly.

SOURCES: https://www.historylearningsite.co.uk/medieval-england/medieval-towns/ https://www.britannica.com/topic/The-Canterbury-Tales https://www.nationalarchives.gov.uk/education/candp/prevention/g02/default.htm https://www.britannica.com/topic/government/The-Middle-Ages https://today.law.harvard.edu/law-order-in-medieval-england/ (Unfortunately, this list is incomplete, missing a couple of video documentaries.)

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Village Paragraph | Life and City Life

Village Paragraph is a simple yet intriguing concept. It’s a game that sits on the philosophy of “Less is More.” You try to describe and interpret a scene, without using any words.

Village Paragraph in about 100-150 words

  Life in a village is calm and peaceful. The morning scene in a village is very different from that in a city. In the village, the atmosphere is very peaceful. There is no noise or sound. The air is pure and fresh. Birds are chirping in the trees. Last week I went to one of my friends who live in a village. I spent the night with him. In the morning, we went out for a walk. lt was a pleasant experience. The farmers and labourers were going to work in the fields in the early morning. The sight of the crops waving in the wind gave me a lot of pleasure. We went to the river that lies beyond the village. In the morning light, the water of the river looked clean and sparkling. Some persons were taking bath in the river. We also took off our clothes and jumped into the river. The cool and fresh water refreshed our bodies and minds. Indeed the morning scene in a village is very pleasant.

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Village Paragraph – 150 Words

  During the winter vacation, we went to our grandparent’s house after about four years. It is a revue area near Badawn, U.P. We went by bus, got down at Uziyani took a tempo an eight-seater vehicle and reached Naraugarda. It is a small hamlet of about one hundred houses. All the houses are plastered with mud with vast fields around them. You can see all kinds of cattle. There is only one well and two boring tubewells which fulfil the requirement of water in the village. People know each other very well. The Pradhan’s the chief of the village has a big pucca house. Our grandparents have sugarcane fields and a huge mango groove. We used to chief sugarcane and eat lots of very sweet guavas. We did not require to go out as every family invited us for dinner or lunch.

Download the above Paragraph in PDF

Also Read :

• Paragraph on Village Fair
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Village Paragraph in about 250 words

In the morning, the village is alive with children playing and dogs barking. The main street is bustling with people going about their day. There are few cars in the village, and most of the inhabitants walk or ride bicycles. The village is a relaxed place where people know one another and greet each other on the street. As the sun begins to peek through the trees, it casts a beautiful light over the village. The people are out and about, doing their morning routines. There’s a sense of peace and happiness in the air. Some of the villagers are sitting at their favorite spot in the village, sharing a cup of tea or coffee. Others are walking around, getting some fresh air. The children are playing together, running around and having fun. The parents are watching them from a distance, maybe putting thing in their own homes or taking a bit of time for themselves. It’s a peaceful scene, and it’s sure to greet anyone who walks by. As we all know, life can be hectic. Between work, family, and social obligations, it can be hard to find time for ourselves. But taking the time to enjoy our village is essential for both our mental and physical health. Spending time with friends and family members strengthens our relationships and gives us a sense of community. Exercise also has many positive benefits, including improved moods and reduced anxiety levels. By spending time in our village, we are not only taking care of ourselves but we are also building a foundation for future success. Thanks for reading!

Village Paragraph in about 400 + words

In villages all over India, women are weaving what appear to be simple pieces of cloth. But these cloths have a very unique purpose: they’re being used to make the country’s famed sarees. Sarees are one of India’s most famous exports, and they’re not just worn by women. They can also be seen on men, children, and even animals—especially during weddings. In fact, sarees have become so popular that they now account for more than half of India’s exports. How do they become so popular? Well, it all starts with the fabric. Village weavers use a special type of cotton called gossamer cotton. This cotton is lightweight and extremely soft. It’s also incredibly versatile, which is why it’s used to make sarees. Gossamer cotton is spun into thread using a traditional spinning wheel. The thread is then woven into the fabric using a loom. The finished product is a beautiful piece of clothing that everyone in India will love to wear. Thanks to the hard work of village weavers, your next purchase might just come from India

This village is a great place to live

This village is a great place to live. It has a lot of things to offer its residents, such as a beautiful village center, excellent schools and plenty of recreational opportunities. The people here are friendly and welcoming, and the community spirit is strong. There is always something going on in this village, whether it’s a farmers’ market or a local festival. And if you’re looking for something to do outside of the village, there’s plenty of options available, from hiking and biking trails to beaches and ski resorts.

The people here are friendly and welcoming

Welcome to the village! The people here are friendly and welcoming. They are happy to share their culture and traditions with you. You will be able to experience many unique activities while here, such as browsing local markets and attending festivals. Make sure to visit the local tourist information center for more information on what is available in the village. Thank you for choosing to visit us!

There is always something to do

There is always something to do in the village. The villagers are always up for a good time and there is always something for them to do. Whether it be going on walks, exploring the nearby forests, or just sitting around the fire chatting, the village has something for everyone. Even though the village is small, it has a large variety of things to do.

The village is close to many attractions and places of interest

The village is close to many attractions and places of interest. It is home to a number of lovely churches, including the impressive St Andrew’s. The village also has a number of pubs and restaurants, making it an ideal place to visit for a day out. There are also many interesting historical buildings in the village, including the Old Post Office and the Manor House.

The village has a great school system

The village has a great school system. The schools are well-funded and offer a wide range of courses for students to choose from. The teachers are highly qualified and the curriculum is challenging but relevant. Students in the village receive an excellent education, which is reflected in their success in national and international examinations.

The village is well-maintained and safe

The village is well-maintained and safe. There are a variety of shops, restaurants, and cafes within walking distance. The streets are well-lit and the sidewalks are clean. The community is supportive and friendly.

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Describe an abandoned village

Dense fog gathered in the centre of the moor. Over a small hill to south, nestled in a valley, lay an abandoned and desolate village. It was bitterly cold, I stood looking out across the moor as the fog slowly crept its way towards the village; tendrils, like fingers, clawed its way closer, quickly smothering it from view. A grey afternoon chill descended upon the surrounding hills, as slowly the sky began to darken. The village was distant, quiet as I quickly worked my way down the dew sodden grass towards it.  

The sky had darkened further as I approached the village from a far; it had taken only a few minutes even though my ragged breathing suggested otherwise. I stood at the start of a gravel road that cut its way through the heart of the village like a knife. Small cottage like houses intermingled with the odd shop lined each side of the gravel track, as a church rose up far in the distance, they all looked so old as they appeared to be withering before my eyes, each one helpless and crippled by age. The silence was deafening, interminable, restless. The insurmountable stench of rotting rubbish and wood engulfed the air. Nauseated, I rushed down the gravely street.

This is a preview of the whole essay

The duvet of dark and threatening clouds was disturbed as the first glimpse of moonlight shone through the trees that encircled many of the houses. They were dead with dark trunks and thin branches and glazed each window; stained and shattered, every window representing the life of those who had once lived there.  I approached a cottage with a wrought iron gate barring my passage, each spike wrapped with old vines that gave the place a dejected look. A wall of overwhelming scent hit me, piles of rubbish resembled rotting animal carcasses onto which thousands of flies were drawn to, like a beacon of light.

The sky was navy blue as the sun sank beneath the horizon; the door opened with a creak. A pungent odour filled my nostrils mixed in with a whiff of stale tobacco that shrivelled my taste buds. The door directly opened into a small sitting room. Layer upon layer of dust lined every inch of the room, hiding the layers of secrets and darkness whilst cobwebs infested every corner like a chronic disease. The furniture veiled the sofas like a dress; ants were crawling, scrounging, searching for everything and anything, scurrying past me out into freedom. Feeling queasy, I left this spider infested hole and moved away from the dark cottages and towards the church. The hazel frame of the church door had a corner missing, and the wrought iron door knocker had been eroded with rust and the centuries of decay had faded the once harsh gold colour.

In the shadow of the church lay a cemetery. Darkness set in as the bone chilling wind howled, creating sounds like the whispers of those who lay beneath the ground. All around, the numerous dead were kept company by the stone gargoyles that perched comfortably in the blackness of the sky as stone angels peered down at you as if to keep you away or perhaps to invite you in. There were no flowers. Instead in their place, a bed of thorns, sticks and dismay.

I saw above me what looked like a balcony protruding from the church roof, conveniently a long ladder snaked its way up to it. I climbed. My hands bitter cold. I stood looking out across this small village, the small cottages and the few shops seemed to have been wiped away except from memory although a kind of spirit still seemed to linger. The village looked relatively small, cradled like a baby in the arms of the surrounding hills. I stood, shivering, until night lay with me and the moon struggled to penetrate the canopy above. The leaves were unyielding, hanging on firm in the sudden chill that succeeded sunset. The sounds of unseen creatures and the sound of the creeping dead chilled me to the bone as I slowly breathed in the dark mustiness, the earth laden chill filled by nostrils, burning my insides.

Darkness had fully set in now, only the waning glimmer of light from the moon illuminated my path out of the village. I walked out down the treaded gravel road and up back into the hills from whence I came. Feeling empty with a wretch inside my stomach, I looked back. Only the thin rays of moonlight illuminated the village, it made me sorrowful to know that this was once a thriving village now turned into desolate consummation of filth and misery.

Document Details

• Author Type Student
• Word Count 782
• Page Count 2
• Subject English
• Type of work Coursework

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36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau

L'auteur américain Henry David Thoreau est un écrivain du voyage qui a rarement quitté sa ville natale de Concorde, Massachusetts, où il a vécu de 1817 à 1862. Son approche du "voyage" consiste à accorder une profonde attention à son environnement ordinaire et à voir le monde à partir de perspectives multiples, comme il l'explique avec subtilité dans Walden (1854). Inspiré par Thoreau et par la célèbre série de gravures du peintre d'estampes japonais Katsushika Hokusai, intitulée 36 vues du Mt. Fuji (1830-32), j'ai fait un cours sur "L'écriture thoreauvienne du voyage" à l'Université de l'Idaho, que j'appelle 36 vues des montagnes de Moscow: ou, Faire un grand voyage — l'esprit et le carnet ouvert — dans un petit lieu . Cet article explore la philosophie et les stratégies pédagogiques de ce cours, qui tente de partager avec les étudiants les vertus d'un regard neuf sur le monde, avec les yeux vraiment ouverts, avec le regard d'un voyageur, en "faisant un grand voyage" à Moscow, Idaho. Les étudiants affinent aussi leurs compétences d'écriture et apprennent les traditions littéraires et artistiques associées au voyage et au sens du lieu.

Index terms

Keywords: , designing a writing class to foster engagement.

1 The signs at the edge of town say, "Entering Moscow, Idaho. Population 25,060." This is a small hamlet in the midst of a sea of rolling hills, where farmers grow varieties of wheat, lentils, peas, and garbanzo beans, irrigated by natural rainfall. Although the town of Moscow has a somewhat cosmopolitan feel because of the presence of the University of Idaho (with its 13,000 students and a few thousand faculty and staff members), elegant restaurants, several bookstores and music stores, and a patchwork of artsy coffee shops on Main Street, the entire mini-metropolis has only about a dozen traffic lights and a single high school. As a professor of creative writing and the environmental humanities at the university, I have long been interested in finding ways to give special focuses to my writing and literature classes that will help my students think about the circumstances of their own lives and find not only academic meaning but personal significance in our subjects. I have recently taught graduate writing workshops on such themes as "The Body" and "Crisis," but when I was given the opportunity recently to teach an undergraduate writing class on Personal and Exploratory Writing, I decided to choose a focus that would bring me—and my students—back to one of the writers who has long been of central interest to me: Henry David Thoreau.

2 One of the courses I have routinely taught during the past six years is Environmental Writing, an undergraduate class that I offer as part of the university's Semester in the Wild Program, a unique undergraduate opportunity that sends a small group of students to study five courses (Ecology, Environmental History, Environmental Writing, Outdoor Leadership and Wilderness Survival, and Wilderness Management and Policy) at a remote research station located in the middle of the largest wilderness area (the Frank Church River of No Return Wilderness) in the United States south of Alaska. In "Teaching with Wolves," a recent article about the Semester in the Wild Program, I explained that my goal in the Environmental Writing class is to help the students "synthesize their experience in the wilderness with the content of the various classes" and "to think ahead to their professional lives and their lives as engaged citizens, for which critical thinking and communication skills are so important" (325). A foundational text for the Environmental Writing class is a selection from Thoreau's personal journal, specifically the entries he made October 1-20, 1853, which I collected in the 1993 writing textbook Being in the World: An Environmental Reader for Writers . I ask the students in the Semester in the Wild Program to deeply immerse themselves in Thoreau's precise and colorful descriptions of the physical world that is immediately present to him and, in turn, to engage with their immediate encounters with the world in their wilderness location. Thoreau's entries read like this:

Oct. 4. The maples are reddening, and birches yellowing. The mouse-ear in the shade in the middle of the day, so hoary, looks as if the frost still lay on it. Well it wears the frost. Bumblebees are on the Aster undulates , and gnats are dancing in the air. Oct. 5. The howling of the wind about the house just before a storm to-night sounds extremely like a loon on the pond. How fit! Oct. 6 and 7. Windy. Elms bare. (372)

3 In thinking ahead to my class on Personal and Exploratory Writing, which would be offered on the main campus of the University of Idaho in the fall semester of 2018, I wanted to find a topic that would instill in my students the Thoreauvian spirit of visceral engagement with the world, engagement on the physical, emotional, and philosophical levels, while still allowing my students to remain in the city and live their regular lives as students. It occurred to me that part of what makes Thoreau's journal, which he maintained almost daily from 1837 (when he was twenty years old) to 1861 (just a year before his death), such a rich and elegant work is his sense of being a traveler, even when not traveling geographically.

Traveling a Good Deal in Moscow

I have traveled a good deal in Concord…. --Henry David Thoreau, Walden (1854; 4)

4 For Thoreau, one did not need to travel a substantial physical distance in order to be a traveler, in order to bring a traveler's frame of mind to daily experience. His most famous book, Walden , is well known as an account of the author's ideas and daily experiments in simple living during the two years, two months, and two days (July 4, 1845, to September 6, 1847) he spent inhabiting a simple wooden house that he built on the shore of Walden Pond, a small lake to the west of Boston, Massachusetts. Walden Pond is not a remote location—it is not out in the wilderness. It is on the edge of a small village, much like Moscow, Idaho. The concept of "traveling a good deal in Concord" is a kind of philosophical and psychological riddle. What does it mean to travel extensively in such a small place? The answer to this question is meaningful not only to teachers hoping to design writing classes in the spirit of Thoreau but to all who are interested in travel as an experience and in the literary genre of travel writing.

5 Much of Walden is an exercise in deftly establishing a playful and intellectually challenging system of synonyms, an array of words—"economy," "deliberateness," "simplicity," "dawn," "awakening," "higher laws," etc.—that all add up to powerful probing of what it means to live a mindful and attentive life in the world. "Travel" serves as a key, if subtle, metaphor for the mindful life—it is a metaphor and also, in a sense, a clue: if we can achieve the traveler's perspective without going far afield, then we might accomplish a kind of enlightenment. Thoreau's interest in mindfulness becomes clear in chapter two of Walden , "Where I Lived, and What I Lived For," in which he writes, "Morning is when I am awake and there is a dawn in me. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?" The latter question implies the author's feeling that he is himself merely evolving as an awakened individual, not yet fully awake, or mindful, in his efforts to live "a poetic or divine life" (90). Thoreau proceeds to assert that "We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn…. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor" (90). Just what this endeavor might be is not immediately spelled out in the text, but the author does quickly point out the value of focusing on only a few activities or ideas at a time, so as not to let our lives be "frittered away by detail." He writes: "Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; … and keep your accounts on your thumb nail" (91). The strong emphasis in the crucial second chapter of Walden is on the importance of waking up and living deliberately through a conscious effort to engage in particular activities that support such awakening. It occurs to me that "travel," or simply making one's way through town with the mindset of a traveler, could be one of these activities.

6 It is in the final chapter of the book, titled "Conclusion," that Thoreau makes clear the relationship between travel and living an attentive life. He begins the chapter by cataloguing the various physical locales throughout North America or around the world to which one might travel—Canada, Ohio, Colorado, and even Tierra del Fuego. But Thoreau states: "Our voyaging is only great-circle sailing, and the doctors prescribe for diseases of the skin merely. One hastens to Southern Africa to chase the giraffe; but surely that is not the game he would be after." What comes next is brief quotation from the seventeenth-century English poet William Habbington (but presented anonymously in Thoreau's text), which might be one of the most significant passages in the entire book:

Direct your eye sight inward, and you'll find A thousand regions in your mind Yet undiscovered. Travel them, and be Expert in home-cosmography. (320)

7 This admonition to travel the mysterious territory of one's own mind and master the strange cosmos of the self is actually a challenge to the reader—and probably to the author himself—to focus on self-reflection and small-scale, local movement as if such activities were akin to exploration on a grand, planetary scale. What is really at issue here is not the physical distance of one's journey, but the mental flexibility of one's approach to the world, one's ability to look at the world with a fresh, estranged point of view. Soon after his discussion of the virtues of interior travel, Thoreau explains why he left his simple home at Walden Pond after a few years of experimental living there, writing, "It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves" (323). In other words, no matter what we're doing in life, we can fall into a "beaten track" if we're not careful, thus failing to stay "awake."

8 As I thought about my writing class at the University of Idaho, I wondered how I might design a series of readings and writing exercises for university students that would somehow emulate the Thoreauvian objective of achieving ultra-mindfulness in a local environment. One of the greatest challenges in designing such a class is the fact that it took Thoreau himself many years to develop an attentiveness to his environment and his own emotional rhythms and an efficiency of expression that would enable him to describe such travel-without-travel, and I would have only sixteen weeks to achieve this with my own students. The first task, I decided, was to invite my students into the essential philosophical stance of the class, and I did this by asking my students to read the opening chapter of Walden ("Economy") in which he talks about traveling "a good deal" in his small New England village as well as the second chapter and the conclusion, which reveal the author's enthusiasm (some might even say obsession ) for trying to achieve an awakened condition and which, in the end, suggest that waking up to the meaning of one's life in the world might be best accomplished by attempting the paradoxical feat of becoming "expert in home-cosmography." As I stated it among the objectives for my course titled 36 Views of Moscow Mountain: Or, Traveling a Good Deal—with Open Minds and Notebooks—in a Small Place , one of our goals together (along with practicing nonfiction writing skills and learning about the genre of travel writing) would be to "Cultivate a ‘Thoreauvian' way of appreciating the subtleties of the ordinary world."

Windy. Elms Bare.

9 For me, the elegance and heightened sensitivity of Thoreau's engagement with place is most movingly exemplified in his journal, especially in the 1850s after he's mastered the art of observation and nuanced, efficient description of specific natural phenomena and environmental conditions. His early entries in the journal are abstract mini-essays on such topics as truth, beauty, and "The Poet," but over time the journal notations become so immersed in the direct experience of the more-than-human world, in daily sensory experiences, that the pronoun "I" even drops out of many of these records. Lawrence Buell aptly describes this Thoreauvian mode of expression as "self-relinquishment" (156) in his 1995 book The Environmental Imagination , suggesting such writing "question[s] the authority of the superintending consciousness. As such, it opens up the prospect of a thoroughgoing perceptual breakthrough, suggesting the possibility of a more ecocentric state of being than most of us have dreamed of" (144-45). By the time Thoreau wrote "Windy. Elms bare" (372) as his single entry for October 6 and 7, 1853, he had entered what we might call an "ecocentric zone of consciousness" in his work, attaining the ability to channel his complex perceptions of season change (including meteorology and botany and even his own emotional state) into brief, evocative prose.

10 I certainly do not expect my students to be able to do such writing after only a brief introduction to the course and to Thoreau's own methods of journal writing, but after laying the foundation of the Thoreauvian philosophy of nearby travel and explaining to my students what I call the "building blocks of the personal essay" (description, narration, and exposition), I ask them to engage in a preliminary journal-writing exercise that involves preparing five journal entries, each "a paragraph or two in length," that offer detailed physical descriptions of ordinary phenomena from their lives (plants, birds, buildings, street signs, people, food, etc.), emphasizing shape, color, movement or change, shadow, and sometimes sound, smell, taste, and/or touch. The goal of the journal entries, I tell the students, is to begin to get them thinking about close observation, vivid descriptive language, and the potential to give their later essays in the class an effective texture by balancing more abstract information and ideas with evocative descriptive passages and storytelling.

11 I am currently teaching this class, and I am writing this article in early September, as we are entering the fourth week of the semester. The students have just completed the journal-writing exercise and are now preparing to write the first of five brief essays on different aspects of Moscow that will eventually be braided together, as discrete sections of the longer piece, into a full-scale literary essay about Moscow, Idaho, from the perspective of a traveler. For the journal exercise, my students wrote some rather remarkable descriptive statements, which I think bodes well for their upcoming work. One student, Elizabeth Isakson, wrote stunning journal descriptions of a cup of coffee, her own feet, a lemon, a basil leaf, and a patch of grass. For instance, she wrote:

Steaming hot liquid poured into a mug. No cream, just black. Yet it appears the same brown as excretion. The texture tells another story with meniscus that fades from clear to gold and again brown. The smell is intoxicating for those who are addicted. Sweetness fills the nostrils; bitterness rushes over the tongue. The contrast somehow complements itself. Earthy undertones flower up, yet this beverage is much more satisfying than dirt. When the mug runs dry, specks of dark grounds remain swimming in the sunken meniscus. Steam no longer rises because energy has found a new home.

12 For the grassy lawn, she wrote:

Calico with shades of green, the grass is yellowing. Once vibrant, it's now speckled with straw. Sticking out are tall, seeding dandelions. Still some dips in the ground have maintained thick, soft patches of green. The light dances along falling down from the trees above, creating a stained-glass appearance made from various green shades. The individual blades are stiff enough to stand erect, but they will yield to even slight forces of wind or pressure. Made from several long strands seemingly fused together, some blades fray at the end, appearing brittle. But they do not simply break off; they hold fast to the blade to which they belong.

13 The point of this journal writing is for the students to look closely enough at ordinary reality to feel estranged from it, as if they have never before encountered (or attempted to describe) a cup of coffee or a field of grass—or a lemon or a basil leaf or their own body. Thus, the Thoreauvian objective of practicing home-cosmography begins to take shape. The familiar becomes exotic, note-worthy, and strangely beautiful, just as it often does for the geographical travel writer, whose adventures occur far away from where she or he normally lives. Travel, in a sense, is an antidote to complacency, to over-familiarity. But the premise of my class in Thoreauvian travel writing is that a slight shift of perspective can overcome the complacency we might naturally feel in our home surroundings. To accomplish this we need a certain degree of disorientation. This is the next challenge for our class.

The Blessing of Being Lost

14 Most of us take great pains to "get oriented" and "know where we're going," whether this is while running our daily errands or when thinking about the essential trajectories of our lives. We're often instructed by anxious parents to develop a sense of purpose and a sense of direction, if only for the sake of basic safety. But the traveler operates according to a somewhat different set of priorities, perhaps, elevating adventure and insight above basic comfort and security, at least to some degree. This certainly seems to be the case for the Thoreauvian traveler, or for Thoreau himself. In Walden , he writes:

…not until we are completely lost, or turned round,--for a man needs only be turned round once with his eyes shut in this world to be lost,--do we appreciate the vastness and strangeness of Nature. Every man has to learn the points of compass again as often as he awakes, whether from sleep or any abstraction. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations. (171)

15 I could explicate this passage at length, but that's not really my purpose here. I read this as a celebration of salutary disorientation, of the potential to be lost in such a way as to deepen one's ability to pay attention to oneself and one's surroundings, natural and otherwise. If travel is to a great degree an experience uniquely capable of triggering attentiveness to our own physical and psychological condition, to other cultures and the minds and needs of other people, and to a million small details of our environment that we might take for granted at home but that accrue special significance when we're away, I would argue that much of this attentiveness is owed to the sense of being lost, even the fear of being lost, that often happens when we leave our normal habitat.

16 So in my class I try to help my students "get lost" in a positive way. Here in Moscow, the major local landmark is a place called Moscow Mountain, a forested ridge of land just north of town, running approximately twenty kilometers to the east of the city. Moscow "Mountain" does not really have a single, distinctive peak like a typical mountain—it is, as I say, more of a ridge than a pinnacle. When I began contemplating this class on Thoreauvian travel writing, the central concepts I had in mind were Thoreau's notion of traveling a good deal in Concord and also the idea of looking at a specific place from many different angles. The latter idea is not only Thoreauvian, but perhaps well captured in the eighteen-century Japanese artist Katsushika Hokusai's series of woodblock prints known as 36 Views of Mt. Fuji , which offers an array of different angles on the mountain itself and on other landscape features (lakes, the sea, forests, clouds, trees, wind) and human behavior which is represented in many of the prints, often with Mt. Fuji in the distant background or off to the side. In fact, I imagine Hokusai's approach to representing Mt. Fuji as so important to the concept of this travel writing class that I call the class "36 Views of Moscow Mountain," symbolizing the multiple approaches I'll be asking my students to take in contemplating and describing not only Moscow Mountain itself, but the culture and landscape and the essential experience of Moscow the town. The idea of using Hokusai's series of prints as a focal point of this class came to me, in part, from reading American studies scholar Cathy Davidson's 36 Views of Mount Fuji: On Finding Myself in Japan , a memoir that offers sixteen short essays about different facets of her life as a visiting professor in that island nation.

17 The first of five brief essays my students will prepare for the class is what I'm calling a "Moscow Mountain descriptive essay," building upon the small descriptive journal entries they've written recently. In this case, though, I am asking the students to describe the shapes and colors of the Moscow Mountain ridge, while also telling a brief story or two about their observations of the mountain, either by visiting the mountain itself to take a walk or a bike ride or by explaining how they glimpse portions of the darkly forested ridge in the distance while walking around the University of Idaho campus or doing things in town. In preparation for the Moscow Mountain essays, we read several essays or book chapters that emphasize "organizing principles" in writing, often the use of particular landscape features, such as trees or mountains, as a literary focal point. For instance, in David Gessner's "Soaring with Castro," from his 2007 book Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , he not only refers to La Gran Piedra (a small mountain in southeastern Cuba) as a narrative focal point, but to the osprey, or fish eagle, itself and its migratory journey as an organizing principle for his literary project (203). Likewise, in his essay "I Climb a Tree and Become Dissatisfied with My Lot," Chicago author Leonard Dubkin writes about his decision, as a newly fired journalist, to climb up a tree in Chicago's Lincoln Park to observe and listen to the birds that gather in the green branches in the evening, despite the fact that most adults would consider this a strange and inappropriate activity. We also looked at several of Hokusai's woodblock prints and analyzed these together in class, trying to determine how the mountain served as an organizing principle for each print or whether there were other key features of the prints—clouds, ocean waves, hats and pieces of paper floating in the wind, humans bent over in labor—that dominate the images, with Fuji looking on in the distance.

18 I asked my students to think of Hokusai's representations of Mt. Fuji as aesthetic models, or metaphors, for what they might try to do in their brief (2-3 pages) literary essays about Moscow Mountain. What I soon discovered was that many of my students, even students who have spent their entire lives in Moscow, either were not aware of Moscow Mountain at all or had never actually set foot on the mountain. So we spent half an hour during one class session, walking to a vantage point on the university campus, where I could point out where the mountain is and we could discuss how one might begin to write about such a landscape feature in a literary essay. Although I had thought of the essay describing the mountain as a way of encouraging the students to think about a familiar landscape as an orienting device, I quickly learned that this will be a rather challenging exercise for many of the students, as it will force them to think about an object or a place that is easily visible during their ordinary lives, but that they typically ignore. Paying attention to the mountain, the ridge, will compel them to reorient themselves in this city and think about a background landscape feature that they've been taking for granted until now. I think of this as an act of disorientation or being lost—a process of rethinking their own presence in this town that has a nearby mountain that most of them seldom think about. I believe Thoreau would consider this a good, healthy experience, a way of being present anew in a familiar place.

36 Views—Or, When You Invert Your Head

19 Another key aspect of Hokusai's visual project and Thoreau's literary project is the idea of changing perspective. One can view Mt. Fuji from 36 different points of views, or from thousands of different perspectives, and it is never quite the same place—every perspective is original, fresh, mind-expanding. The impulse to shift perspective in pursuit of mindfulness is also ever-present in Thoreau's work, particularly in his personal journal and in Walden . This idea is particularly evident, to me, in the chapter of Walden titled "The Ponds," where he writes:

Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distinct pine woods, separating one stratum of the atmosphere from another. (186)

20 Elsewhere in the chapter, Thoreau describes the view of the pond from the top of nearby hills and the shapes and colors of pebbles in the water when viewed from close up. He chances physical perspective again and again throughout the chapter, but it is in the act of looking upside down, actually suggesting that one might invert one's head, that he most vividly conveys the idea of looking at the world in different ways in order to be lost and awakened, just as the traveler to a distant land might feel lost and invigorated by such exposure to an unknown place.

21 After asking students to write their first essay about Moscow Mountain, I give them four additional short essays to write, each two to four pages long. We read short examples of place-based essays, some of them explicitly related to travel, and then the students work on their own essays on similar topics. The second short essay is about food—I call this the "Moscow Meal" essay. We read the final chapter of Michael Pollan's The Omnivore's Dilemma (2006), "The Perfect Meal," and Anthony Bourdain's chapter "Where Cooks Come From" in the book A Cook's Tour (2001) are two of the works we study in preparation for the food essay. The three remaining short essays including a "Moscow People" essay (exploring local characters are important facets of the place), a more philosophical essay about "the concept of Moscow," and a final "Moscow Encounter" essay that tells the story of a dramatic moment of interaction with a person, an animal, a memorable thing to eat or drink, a sunset, or something else. Along the way, we read the work of Wendell Berry, Joan Didion, Barbara Kingsolver, Kim Stafford, Paul Theroux, and other authors. Before each small essay is due, we spend a class session holding small-group workshops, allowing the students to discuss their essays-in-progress with each other and share portions of their manuscripts. The idea is that they will learn about writing even by talking with each other about their essays. In addition to writing about Moscow from various angles, they will learn about additional points of view by considering the angles of insight developed by their fellow students. All of this is the writerly equivalent of "inverting [their] heads."

Beneath the Smooth Skin of Place

22 Aside from Thoreau's writing and Hokusai's images, perhaps the most important writer to provide inspiration for this class is Indiana-based essayist Scott Russell Sanders. Shortly after introducing the students to Thoreau's key ideas in Walden and to the richness of his descriptive writing in the journal, I ask them to read his essay "Buckeye," which first appeared in Sanders's Writing from the Center (1995). "Buckeye" demonstrates the elegant braiding together of descriptive, narrative, and expository/reflective prose, and it also offers a strong argument about the importance of creating literature and art about place—what he refers to as "shared lore" (5)—as a way of articulating the meaning of a place and potentially saving places that would otherwise be exploited for resources, flooded behind dams, or otherwise neglected or damaged. The essay uses many of the essential literary devices, ranging from dialogue to narrative scenes, that I hope my students will practice in their own essays, while also offering a vivid argument in support of the kind of place-based writing the students are working on.

23 Another vital aspect of our work together in this class is the effort to capture the wonderful idiosyncrasies of this place, akin to the idiosyncrasies of any place that we examine closely enough to reveal its unique personality. Sanders's essay "Beneath the Smooth Skin of America," which we study together in Week 9 of the course, addresses this topic poignantly. The author challenges readers to learn the "durable realities" of the places where they live, the details of "watershed, biome, habitat, food-chain, climate, topography, ecosystem and the areas defined by these natural features they call bioregions" (17). "The earth," he writes, "needs fewer tourists and more inhabitants" (16). By Week 9 of the semester, the students have written about Moscow Mountain, about local food, and about local characters, and they are ready at this point to reflect on some of the more philosophical dimensions of living in a small academic village surrounded by farmland and beyond that surrounded by the Cascade mountain range to the West and the Rockies to the East. "We need a richer vocabulary of place" (18), urges Sanders. By this point in the semester, by reading various examples of place-based writing and by practicing their own powers of observation and expression, my students will, I hope, have developed a somewhat richer vocabulary to describe their own experiences in this specific place, a place they've been trying to explore with "open minds and notebooks." Sanders argues that

if we pay attention, we begin to notice patterns in the local landscape. Perceiving those patterns, acquiring names and theories and stories for them, we cease to be tourists and become inhabitants. The bioregional consciousness I am talking about means bearing your place in mind, keeping track of its condition and needs, committing yourself to its care. (18)

24 Many of my students will spend only four or five years in Moscow, long enough to earn a degree before moving back to their hometowns or journeying out into the world in pursuit of jobs or further education. Moscow will be a waystation for some of these student writers, not a permanent home. Yet I am hoping that this semester-long experiment in Thoreauvian attentiveness and place-based writing will infect these young people with both the bioregional consciousness Sanders describes and a broader fascination with place, including the cultural (yes, the human ) dimensions of this and any other place. I feel such a mindfulness will enrich the lives of my students, whether they remain here or move to any other location on the planet or many such locations in succession.

25 Toward the end of "Beneath the Smooth Skin of America," Sanders tells the story of encountering a father with two young daughters near a city park in Bloomington, Indiana, where he lives. Sanders is "grazing" on wild mulberries from a neighborhood tree, and the girls are keen to join him in savoring the local fruit. But their father pulls them away, stating, "Thank you very much, but we never eat anything that grows wild. Never ever." To this Sanders responds: "If you hold by that rule, you will not get sick from eating poison berries, but neither will you be nourished from eating sweet ones. Why not learn to distinguish one from the other? Why feed belly and mind only from packages?" (19-20). By looking at Moscow Mountain—and at Moscow, Idaho, more broadly—from numerous points of view, my students, I hope, will nourish their own bellies and minds with the wild fruit and ideas of this place. I say this while chewing a tart, juicy, and, yes, slightly sweet plum that I pulled from a feral tree in my own Moscow neighborhood yesterday, an emblem of engagement, of being here.

Bibliography

BUELL, Lawrence, The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture , Harvard University Press, 1995.

DAVIDSON, Cathy, 36 Views of Mount Fuji: On Finding Myself in Japan , Duke University Press, 2006.

DUBKIN, Leonard, "I Climb a Tree and Become Dissatisfied with My Lot." Enchanted Streets: The Unlikely Adventures of an Urban Nature Lover , Little, Brown and Company, 1947, 34-42.

GESSNER, David, Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , Beacon, 2007.

ISAKSON, Elizabeth, "Journals." Assignment for 36 Views of Moscow Mountain (English 208), University of Idaho, Fall 2018.

SANDERS, Scott Russell, "Buckeye" and "Beneath the Smooth Skin of America." Writing from the Center , Indiana University Press, 1995, pp. 1-8, 9-21.

SLOVIC, Scott, "Teaching with Wolves", Western American Literature 52.3 (Fall 2017): 323-31.

THOREAU, Henry David, "October 1-20, 1853", Being in the World: An Environmental Reader for Writers , edited by Scott H. Slovic and Terrell F. Dixon, Macmillan, 1993, 371-75.

THOREAU, Henry David, Walden . 1854. Princeton University Press, 1971.

Bibliographical reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban , 59 | 2018, 41-54.

Electronic reference

Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” ,  Caliban [Online], 59 | 2018, Online since 01 June 2018 , connection on 27 June 2024 . URL : http://journals.openedition.org/caliban/3688; DOI : https://doi.org/10.4000/caliban.3688

About the author

Scott slovic.

University of Idaho Scott Slovic is University Distinguished Professor of Environmental Humanities at the University of Idaho, USA. The author and editor of many books and articles, he edited the journal ISLE: Interdisciplinary Studies in Literature and Environment from 1995 to 2020. His latest coedited book is The Routledge Handbook of Ecocriticism and Environmental Communication  (2019).

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

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

Phone: 208-885-6156

Email: [email protected]

Web: English

M.F.A. Faculty

Leah hampton, assistant professor.

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Michael McGriff

Associate professor.

Brink Hall 217

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Scott Slovic

Distinguished professor emeritus.

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Alexandra Teague

Associate chair and professor of english; co-director, mfa in creative writing; co-director, women's gender & sexuality studies.

Brink Hall 228

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Retired Faculty

Distinguished professor emerita.

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Ron McFarland

Professor emeritus.

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Daniel Orozco

Associate professor emeritus.

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Joy Passanante

Professor emerita.

Robert Wrigley

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