how to describe sadness in creative writing

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

By: Author Paul Jenkins

Posted on August 25, 2023

Categories Creative Writing , Writing

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

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

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

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

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

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

Key Takeaways

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

33 Ways to Express Sadness in Creative Writing

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

Here are 33 ways to express sadness in creative writing:

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

Understanding Sadness in Writing

Describing sadness in writing can be a challenging task.

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

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

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

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

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

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

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

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

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

Emotional Spectrum in Characters

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

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

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

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

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

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

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

Physical Manifestations of Sadness

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

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

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

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

Facial Expressions

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

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

Body Language

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

Cold and Heat

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

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

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

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

Authenticity in Describing Sadness

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

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

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

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

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

Language and Dialogue in Expressing Sadness

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

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

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

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

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

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

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

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

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

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

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

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

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

Expert Views on Emotion

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

Dr. Paul Ekman

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

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

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

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

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

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

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

Unique Examples of Describing Sadness

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

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

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

Frequently Asked Questions

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

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

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

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

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

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

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

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

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

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

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

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

Writing Nestling

How To Describe Crying In writing (12 Best Steps & Examples)

Describing crying in writing is an art that transcends the mere act of shedding tears; it delves deep into the well of human emotion.

It’s the art of painting with words, capturing the raw and often complex sentiments that accompany moments of sorrow, joy, despair, or relief.

Crying is a universal human experience, and to convey it effectively on the page is to forge a profound connection between the writer and the reader.

Through carefully chosen words and vivid imagery, a skilled writer can make the act of shedding tears not only visible but palpable, inviting readers to not only witness the characters’ emotional upheaval but to immerse themselves in the very essence of those feelings.

This guide will navigate the intricate landscape of tears, exploring the multifaceted facets of this emotional expression, the use of vivid imagery, and the subtleties of context and character perspective, ensuring that the portrayal of crying in your writing resonates with depth and authenticity.

Table of Contents

How To Describe Crying In writing

Describing crying in writing involves evoking the emotions and physical sensations associated with the act of shedding tears. Here’s a step-by-step process to help you do just that:

Choose Your Perspective:

Decide whether you want to describe someone else crying or depict the act of crying from a first-person perspective. Your choice will influence the language and tone you use.

Set the Scene

Describe the environment or situation in which the crying is happening. Is it a dimly lit room, a crowded street, or a serene natural setting? The setting can contribute to the emotional atmosphere.

Character Emotion

Begin by conveying the emotional state of the person crying. Use descriptive words and phrases to convey the depth of their sorrow, frustration, relief, or whatever emotion is prompting the tears.

Facial Expressions

Depict the person’s facial expressions. Mention the quivering lip, furrowed brow, or the eyes filling with tears. These details help the reader connect with the character’s emotional turmoil.

Physical Sensations

Describe the physical sensations associated with crying. The salty taste of tears, the tightening of the chest, or the warmth of tears streaming down the cheeks can be evocative details.

Body Language

Explain the character’s body language. Are they hunched over, covering their face, or standing defiantly while tears stream down? Body language can reveal a lot about the character’s emotional state.

Sound Effects

Incorporate sound elements. The quiet sniffles, muffled sobs, or the guttural cries can enhance the reader’s experience.

Metaphorical Imagery

Use metaphors and similes to compare the act of crying to something else. For example, “Her tears fell like raindrops on a parched earth,” adds depth to the description.

Dialogue or Internal Thoughts

If applicable, include dialogue or internal thoughts to reveal the character’s inner turmoil. What are they saying or thinking as they cry?

Surrounding Details

Mention how others around the crying person are reacting. Are they offering comfort or giving space? This can provide context and add layers to the scene.

Conclude the description by summarizing the impact of the crying episode. How has it changed the character or the situation? What is the aftermath?

Editing and Polishing

After you’ve written the description, revise and edit for clarity, coherence, and conciseness. Ensure that your words evoke the intended emotions without becoming overly verbose.

Remember that the effectiveness of your description lies in the power of your words and your ability to make the reader empathize with the character’s emotional journey. Practice and experimentation with different writing techniques will help you improve your skill in describing crying in a compelling and relatable manner.

Certainly! Here are five examples of different ways to describe crying in writing:

Tears of Silent Sorrow:

Headline: Veiled Emotions In the quiet cocoon of her solitude, tears slipped down her cheeks like delicate whispers. Each droplet, a silent testament to the ache within her soul, painting a poignant masterpiece of unspoken grief.

Torrent of Heartache:

Headline: The Storm Within His shoulders shook with the weight of a thousand sorrows, and as he wept, it was as if the heavens themselves were unleashing a torrent of his anguish. Each sob echoed the tumultuous storm raging in the depths of his fractured heart.

Gentle Rainfall of Release:

Headline: Cathartic Tears Her tears fell like a gentle, healing rainfall, washing away the accumulated dust of despair. With each droplet, a burden was lifted, and her spirit found solace in the quiet surrender to the cleansing embrace of vulnerability.

Bitter Drops of Desperation:

Headline: Echoes of Despair The taste of salt lingered on her lips as tears, bitter and unyielding, escaped the confines of her wounded heart. In the dim light, they traced a map of despair, leaving behind the raw and unfiltered essence of a soul in desperate need of understanding.

Whispers of Joyful Release:

Headline: Tears of Elation Not all tears are born of sorrow; some are the delicate offspring of overwhelming joy. In the radiant glow of accomplishment, her tears sparkled like diamonds, each one carrying the weight of triumph and the sweet release of dreams fulfilled.

Understanding the Complexity of Tears

Tears, those tiny emissaries of our most profound emotions, are an exquisite enigma in the human experience. They are not mere drops of saline; they are storytellers of the soul.

From the glistening jewels that dance in the light when happiness overwhelms us to the silent torrents that flow in the depths of despair, tears are a universal language, transcending words and cultures.

They are the ink with which our innermost feelings write poetry on the canvas of our faces. Understanding the complexity of tears is an exploration of the heart’s own vocabulary, where each teardrop is a letter, each sob a verse, and every cry, a poignant sonnet.

Embrace the art of deciphering this silent symphony, and you’ll find yourself on an odyssey through the labyrinth of human emotions, where every tear is a chapter waiting to be read.

Tears as Universal Symbols

Tears, with their innate ability to convey the unspoken, have transcended cultural and linguistic boundaries to become universal symbols of human emotion.

Whether tears of joy or sorrow, they form a silent bridge between individuals, connecting hearts and souls in shared experiences. In every corner of the world, tears speak a language of their own, unburdened by words, telling tales of love, loss, resilience, and celebration.

They are the tender reminders of our common humanity, reminding us that, beneath our diverse beliefs and backgrounds, we all share the capacity to feel, to empathize, and to understand the profound beauty and fragility of the human spirit.

Tears are the universal ink in the storybook of life, where each drop writes a chapter, and each person, regardless of where they stand, can read the emotional narrative etched upon their cheeks.

The Physiology of Crying

The physiology of crying is a marvel of human biology and emotion. When tears well up in our eyes, they serve as both a pressure release valve and an eloquent expression of our inner feelings.

Crying begins with the lacrimal glands, situated just above our eyes, secreting a saline solution that washes over the ocular surface. These tears, though produced continuously to maintain eye health, change in composition when our emotions are stirred.

Emotional tears contain different proteins and hormones than reflex tears, and they are driven by a complex interplay of the limbic system and autonomic nervous system.

As the tears flow, they help to soothe and calm the body, acting as a biological balm for the soul.

The physiology of crying reminds us that the emotional and the physical are inextricably linked, making this natural response to life’s joys and sorrows a deeply human phenomenon, bridging the realms of biology and sentiment.

Different Types of Tears (Tears of Joy, Tears of Sadness, etc.)

Tears, like a multifaceted gem, come in different shades and types, each reflecting a unique facet of the human experience.

Among them, tears of joy glisten like sunlight on a dew-kissed morning, celebrating moments of elation and triumph, and often carrying a hint of surprise at life’s unexpected beauty. In contrast, tears of sadness cascade down like a mournful rain, releasing the weight of sorrow and loss.

Tears of frustration surge like a tempest, expressing exasperation in their salty flow. Tears of empathy, a testament to our boundless capacity for compassion, stream in response to the pain of others.

These diverse types of tears are the palette from which our emotions paint the rich tapestry of our existence, reminding us that, as humans, we are creatures of deep feeling, and that our tears are the pigments that color our stories.

Using Vivid Imagery

Using vivid imagery in writing is akin to wielding a magical paintbrush, conjuring entire worlds, emotions, and sensations with nothing but words.

It’s the act of turning the ordinary into the extraordinary, infusing life into the mundane. Words become vibrant colors, sentences evolve into landscapes, and paragraphs metamorphose into living, breathing scenes.

When wielded with finesse, vivid imagery doesn’t just describe a scene; it invites readers to step into the story, to feel the grit of sand between their toes, to taste the bittersweet kiss of a summer breeze, and to hear the symphony of emotions resonating in the air .

It’s a literary alchemy, where words become a powerful elixir, turning text into an immersive, unforgettable experience.

In the hands of a skilled writer, vivid imagery isn’t just an art; it’s a passport to worlds unknown, an adventure waiting to be embarked upon with every turn of the page.

Metaphors and Similes

Metaphors and similes, those exquisite tools in the writer’s kit, are the shimmering jewels of language. Metaphors, like secret passageways, allow us to traverse from the known to the unknown, bridging concepts and emotions.

They reveal the hidden connections between disparate things, breathing life and depth into words. Similes, on the other hand, are like polished mirrors, offering a direct reflection of the familiar in the unfamiliar.

They provide readers with a foothold, a relatable reference point that enhances comprehension. Together, they infuse prose with vividness and vibrancy, making the abstract tangible and the ordinary extraordinary.

Metaphors and similes are the alchemists of language, transforming the mundane into the magical, the complex into the comprehensible, and the ordinary into the extraordinary, leaving readers enchanted and authors spellbound by the boundless possibilities of the written word.

Describing the Tears Themselves

Describing the tears themselves is a delicate art, akin to capturing the essence of emotion in miniature. These translucent messengers of our inner world hold a wealth of detail waiting to be unraveled.

Their size, ranging from delicate dewdrops to heavy rivulets, carries the weight of feeling. Their shapes vary, from pristine spheres to irregular contours, each an intimate reflection of the human heart’s complexity.

It’s the texture of tears that speaks volumes – are they glistening like crystal or dull like a winter’s sky? How they catch the light, refracting it into a myriad of hues, adds a poetic dimension to their description.

The appearance of tears, in their unique forms, speaks eloquently of the emotions they bear, and as writers, we have the privilege of unveiling this silent poetry for our readers to behold and feel.

The Sound of Crying

The sound of crying is a symphony of raw, unfiltered emotion. It carries the weight of heartache, the pitch of sorrow, and the rhythm of vulnerability.

It’s a whispering sob in the dead of night, an echoing lament in an empty room, or a cacophony of choked gasps that reverberate through the soul.

The sound of crying can be a thunderous storm, unleashing pent-up feelings, or a gentle rain, softly tracing the contours of grief.

It’s an auditory manifestation of the human experience, a language spoken without words, and it tugs at the heartstrings of both those who weep and those who bear witness.

The sound of crying is a powerful reminder that emotion knows no silence, and when articulated in this unique way, it forges a profound connection between individuals, speaking the universal language of empathy and compassion.

Capturing Emotional States

Capturing emotional states in writing is akin to bottling lightning; it’s a daring endeavor that transmutes intangible feelings into tangible words.

Like a sculptor chiseling emotions from the stone of language, it allows the reader to touch the intangible and taste the bittersweet essence of human existence.

Whether it’s the frenzy of a racing heart, the icy tendrils of fear, or the warmth of a heartfelt embrace, the writer becomes a maestro of emotions, conducting symphonies that resonate in the reader’s soul.

It’s a journey through the kaleidoscope of human experience, where each word, each phrase, each carefully crafted sentence is a brushstroke on the canvas of the heart, painting a vivid portrait of the human condition.

In this act of literary alchemy, the writer conjures empathy, connecting distant minds and inspiring readers to not just understand but to feel, deeply and profoundly, the rich tapestry of emotions that make us beautifully, unmistakably, human.

Describing Facial Expressions

Describing facial expressions is the art of translating the unspoken language of the human visage onto the canvas of words.

It’s the quirk of an eyebrow, the twitch of a lip, and the sparkle in the eyes that convey the most intricate and nuanced facets of emotion. A furrowed brow may reveal confusion, while a quivering lip betrays vulnerability.

It’s in the crinkle of laughter lines or the shadowed hollows of despair that we find the most profound stories etched upon the human face.

As writers, we are interpreters of these subtle, silent conversations, giving life to the dialogue between soul and expression.

In these fleeting moments, the face becomes a living manuscript, and our words are the ink that immortalizes the profound dramas of the heart, reminding us that, in the world of storytelling, it’s not just the spoken word but the unspoken that holds the true power of connection and resonance.

The Eyes as Windows to the Soul

“The eyes are the windows to the soul,” a timeless adage, holds within it the profound truth that the human gaze is a gateway to the innermost chambers of our being.

A person’s eyes, with their infinite complexity, can reveal a universe of emotions, intentions, and experiences. They can sparkle with the exuberance of joy or shimmer with the sheen of unshed tears, and they can also harbor the enigmatic depths of sadness, wisdom, and even secrets.

When we gaze into another’s eyes, we become travelers on an intimate journey through their thoughts and feelings, as if we’re peering through the transparent curtains of the soul.

Eyes mirror the essence of what it means to be human, serving as both a shield to protect the vulnerability within and a beacon to guide the way for those who seek to understand and connect with the person behind them.

In the world of storytelling, it is through the eyes that we glimpse the most authentic and unguarded aspects of our characters, allowing readers to form a deep, empathetic bond with the souls inhabiting our narratives.

Showcasing Context and Environment

Showcasing context and environment in writing is akin to painting the backdrop of a grand stage, where the characters and their stories come to life.

It’s the tapestry against which the drama unfolds, providing texture, color, and atmosphere to every scene. Whether it’s the enchanting mist of a forest at dawn, the sterile hum of a hospital room, or the bustling chaos of a vibrant city square, the surroundings become a character in their own right, influencing the narrative’s rhythm and emotions.

They offer readers a portal into a world that’s both familiar and foreign, letting them step into the shoes of the characters and breathe the air of that unique place and time.

By masterfully crafting context and environment, writers unlock the magic of immersion, allowing their readers to taste, touch, and feel the story as if they were living it themselves, thereby transforming words on a page into a transportive journey through the limitless landscapes of the human imagination.

How Surroundings Reflect Emotions

Surroundings serve as a mirror, reflecting the intricate tapestry of human emotions in the subtlest of ways. In the world of storytelling, they become silent witnesses to the inner turmoil and joys of characters, each setting a stage for the emotional symphony that unfolds.

A desolate, abandoned house can echo the loneliness and despair of its inhabitants, while a blooming garden under a vibrant sunset can embody the very essence of hope and renewal.

These surroundings are not merely backdrops but are integral to the narrative, as they amplify or juxtapose the characters’ emotions, guiding the reader’s emotional journey.

The interplay between the external and internal worlds creates a dynamic tension, allowing readers to resonate deeply with the emotional landscape of the story.

In this way, the surroundings in literature are like skilled actors, providing cues for the audience to decipher the emotional undercurrents of the narrative, offering an opportunity for readers to feel the story as it unfolds within the vivid stage of the writer’s imagination.

Balancing Description with Action

Balancing description with action in writing is akin to orchestrating a seamless dance between stillness and motion, like a maestro conducting a symphony where every note, every pause, and every crescendo has its purpose.

It’s the art of inviting readers into a world that’s both vividly detailed and pulsating with energy, where words breathe life into the narrative. Just as a painter uses both broad strokes and fine details to create a masterpiece, the writer wields description to set the scene, to evoke emotions, and to infuse the story with atmosphere.

Then, action steps in like a spirited partner, propelling the plot forward, and allowing characters to come alive through their choices and deeds.

This balance is where the magic happens, for it engages all the senses, inviting readers to taste the tension in the air, feel the heartbeat of anticipation, and see the story unravel before their eyes.

In the harmonious fusion of description and action, the story transcends the confines of the page, transforming into an immersive experience where readers don’t just read the tale but inhabit it, living each moment with the characters, their hearts racing in tandem with the pulse of the plot.

Balancing Dialogue and Internal Thoughts

Balancing dialogue and internal thoughts in writing is akin to navigating the labyrinth of the human mind, where words spoken aloud intertwine with the unspoken whispers within. It’s a delicate dance that allows readers to not only hear the characters’ voices but also peer into the depths of their souls.

Dialogue is the heartbeat of interaction, the external expression of characters’ desires, fears, and dreams. Yet, internal thoughts, like the unsung verses of a ballad, reveal the inner workings of their hearts, adding a layer of intimacy that is uniquely human.

In this interplay, the writer captures the richness of human experience, portraying not just what characters say but why they say it and what remains unsaid.

This balance is where readers connect on a deeper level, allowing them to decipher the complexities of motivation, conflict, and revelation, turning the narrative into a mirror reflecting the intricate mosaic of human interaction.

Conveying the Unspoken

Conveying the unspoken in writing is like weaving a tapestry of the unsung, where the most profound and powerful stories are whispered in the silences between words.

It’s the art of unveiling the hidden layers of human connection, where the weight of unexpressed emotions and the subtleties of unarticulated desires are given voice through the space between sentences.

Writers, like skilled sculptors, carve meaning from the stone of the unsaid, allowing readers to feel the presence of unspoken longing, the tension of unvoiced fears, and the beauty of emotions that transcend language.

This delicate dance between words and their unspoken shadows invites readers to be not just spectators but participants in the narrative, fostering a connection that transcends the page, as if the heartbeats of the characters synchronize with those of the reader, resonating with the profound and eloquent language of the unspoken.

The Role of Subtext

The role of subtext in writing is akin to the underlying current in a river, invisible yet potent, shaping the course of the narrative.

It’s the unsaid, the nuanced, the subtle cues that run beneath the surface of the text, carrying the weight of hidden motivations, unspoken desires, and the complex interplay of emotions.

Subtext, like an enigmatic whisper, invites readers to delve deeper, to decode the unsaid language of characters, and to participate in the storytelling process.

It adds depth and dimension to the narrative, making it more intricate and lifelike, as readers engage in the act of inference, uncovering the secrets and intricacies hidden within the layers of the story.

In the hands of a skilled writer, subtext is a powerful tool that adds layers of meaning, allowing readers to connect on a profound level with the characters and the narrative, making the story a multi-dimensional experience where every word carries a hidden world within.

How the Reader Interprets Emotion

How the reader interprets emotion in writing is a captivating and subjective journey, a meeting point between the author’s artistry and the reader’s imagination.

Words on a page, like magic incantations, evoke emotions, but it’s the reader who breathes life into them. Each reader brings their unique experiences, values, and perspectives, adding colors to the emotional palette the author provides.

The written word acts as a catalyst, igniting a symphony of feelings that resonate differently in each reader’s heart.

The narrative serves as a canvas, and readers become the artists, painting the emotional landscape with their own brushstrokes of interpretation.

In this dance between writer and reader, the beauty lies in the diversity of emotional interpretation, as each reader finds their own reflection in the characters and the story, forging a personal connection that makes literature a profoundly individual and yet universally shared experience.

Avoiding Clichés and Stereotypes

Avoiding clichés and stereotypes in writing is like charting a course through uncharted waters, where every word and idea must be discovered anew.

It’s the act of unraveling the worn-out threads of storytelling and weaving a tapestry that’s fresh, vibrant, and uniquely original. In doing so, the writer embarks on a creative odyssey, embracing the beauty of the unknown.

By shunning the familiar paths of clichés and stereotypes, writers open doors to unexplored dimensions of storytelling, inviting readers into uncharted territories of imagination.

The result is a narrative that feels authentic, surprising, and profoundly engaging, leaving readers with the exhilarating sense that they are voyaging through a literary realm where every turn of phrase is an adventure, and every character is a revelation, making the story unforgettable, like a treasure waiting to be unearthed.

Frequently Asked Questions (FAQ) about How To Describe Crying In writing

What is the significance of describing crying in writing.

Describing crying in writing is vital as it allows authors to convey deep emotions, create empathy, and engage readers on a profound level. It adds authenticity and richness to characters and their experiences.

How can I make descriptions of crying more impactful and unique?

To make descriptions of crying stand out, focus on using vivid imagery, metaphors, and similes to evoke emotions. Consider the character’s perspective, surroundings, and the subtext in the scene to add depth.

What are some common clichés or stereotypes to avoid when describing crying?

Clichés to avoid include phrases like “tears welled up in their eyes” or “crying like a baby.” It’s important to steer clear of overused expressions that can make the description feel trite.

How can I effectively balance description with action in scenes involving crying?

Balancing description with action involves interspersing emotional cues with the characters’ movements and interactions. It’s essential to maintain a smooth flow and pace to keep the reader engaged.

Why is subtext important when describing crying?

Subtext adds depth to emotional scenes by conveying unspoken thoughts, tension, and hidden motivations. It allows readers to infer and connect with characters on a deeper level.

What is the role of character perspective in describing crying?

Character perspective influences how crying is described. First-person narratives may delve deeply into a character’s internal thoughts, while third-person perspectives offer a broader view of the emotional landscape.

How can I avoid common pitfalls when writing about crying?

To avoid pitfalls, stay away from melodrama, excessive sentimentality, or relying too heavily on descriptions of physical tears. Instead, focus on genuine emotions and character development.

Can you provide tips for conveying the unspoken when describing crying?

Conveying the unspoken can be achieved through careful choice of words, subtext, and using character actions and thoughts to reveal emotions without explicitly stating them.

What should writers consider when using metaphors and similes to describe crying?

When using metaphors and similes, choose comparisons that resonate with the emotions in the scene. Make them unique and relevant to the character’s perspective and the overall context.

How can I ensure that my descriptions of crying are original and evoke a powerful emotional response in readers?

Originality comes from a fresh perspective and a keen eye for detail. To evoke a powerful response, make your descriptions authentic, relatable, and infused with genuine emotional depth.

In the world of storytelling, the art of describing crying is a testament to the profound connection between writer and reader, where emotions are not just depicted but felt.

As we conclude this exploration, we’ve ventured through the multifaceted facets of tears, from vivid imagery and metaphorical depths to the subtle nuances of subtext and character perspective.

We’ve learned to steer clear of clichés, to balance description with action, and to paint the unspoken with words.

In mastering this craft, we, as writers, have the power to make our characters and their experiences resonate authentically, to invite readers into the heart of emotion, and to forge connections that transcend the page.

Describing crying in writing isn’t just a literary exercise; it’s a voyage into the rich tapestry of the human soul, a path to empathy, and a portal to unforgettable storytelling.

As we set our pens aside, we leave with the knowledge that, when done skillfully, describing crying can imbue our narratives with a depth and authenticity that will linger in the hearts of our readers long after the story has ended.

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Definition:, physical signals and behaviors:, internal sensations:, mental responses:, cues of acute or long term sadness:, may escalate to:, cues of suppressed sadness:, may de-escalate to:, associated power verbs:.

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

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

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

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

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

So What’s a Fluttering Heart to Do?

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

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

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

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

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

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

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

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

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

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

Just like Billy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Slow It Down

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

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

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

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

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

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

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

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

Want to master the emotional craft of fiction?

Dive into the online course emotional mastery for fiction writers .

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

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

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

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

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

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

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102 Comments

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

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

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

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

Great advice, Robin!

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

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

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

Thanks! I’m glad you think so.

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

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

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

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

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

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

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

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

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

Thanks, Sue!

nicely shown

This is very helpful. Thank you for posting this.

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

Is it just experience and a good ear?

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

That’s great advice. Thank you!

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

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

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

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

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

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

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

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

A good observation, Mawr. Thanks for stopping by.

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

Thanks! Glad you found it helpful.

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

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

So glad it helped, Kelly.

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

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

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

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

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

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

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

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

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

You may be right. Thanks for the feedback.

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

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

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

Maybe pull the plug?

the best way! im thankful to u

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

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

Glad it helped, Maz!

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

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

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

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

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

I’m so glad you found it helpful!

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

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

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

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

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

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

So glad you found it helpful, Charlotte!

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

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

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

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

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

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

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

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

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

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

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

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

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

Amazing bit of writing. Thanks for the article.

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

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

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

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

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

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

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

I was shocked at the difference of my own response.

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

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

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

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

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

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

So glad you found the post helpful, Jennie!

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

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

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

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

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

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

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

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

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

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

You’re very welcome!

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

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

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

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

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

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

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

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

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Emotion Thesaurus: Sadness/Grief

February 7, 2008 by ANGELA ACKERMAN

When it comes to emotion, sometimes we need a brainstorming nudge. After all, each character will express their feelings differently depending on their personality, emotional range, and comfort zone. We hope this short, sample list of expressions will help you better imagine how your character might show this emotion!

If you need to go deeper , we have detailed lists of body language, visceral sensations, dialogue cues, and mental responses for 130 emotions in the 2019 expanded second edition of The Emotion Thesaurus: A Writer’s Guide to Character Expression .

SADNESS/GRIEF

· aching, smarting eyes (redness) · stiff eyelids · a scratchy throat · soreness in the throat, lungs · hyperventilating · difficulty responding to questions and interacting with people · uncontrollable crying · premature aging (wrinkles, tired eyes, gray/white hair) · weight loss or gain · sickness · a desire to live in the past · suicidal thoughts · oversensitivity…

Win your readers’ hearts by tailoring your character’s emotional responses so they’re compelling, credible, and realistic.

If you struggle with writing emotions, you aren’t alone. The Emotion Thesaurus: A Writer’s Guide to Character Expression has helped writers all over the globe, and it can help you. To find out more about this bestselling book, please visit our bookstore .

Prefer the flexibility of instant online access and greater searchability?

The Emotion Thesaurus is also at our sister site,  One Stop for Writers . Visit the Emotion Thesaurus Page to view our complete list of entries.

TIP: While you’re there, check out our hyper-intelligent Character Builder that helps you create deep, memorable characters in half the time !

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

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Reader Interactions

August 9, 2015 at 3:45 pm

One thing that makes every situation worse: a headache. Especially when you’re already coping with grief. You’ve been crying, so you’re dehydrated, and you have a splitting headache and are too out of it to figure out why.

August 10, 2015 at 1:01 am

Great observation!

January 19, 2012 at 6:08 am

I just wanted to thank your for your awesome blog! Your thesaurus are very handy. They’ve helped me a lot writing my novel.

June 23, 2010 at 12:02 am

Awesome lists of new ways to make a point. We often reuse the some ones over and over, getting stuck in a rut.

July 17, 2009 at 12:46 pm

Just came across a link to this place, and I must say it is AMAZING. I willl definitely have to remember this blog, as I am sure it will come in very handy as I work on my stories.

Thank You!!

– The All Real Numbers Symbol

February 8, 2008 at 12:43 pm

Glad you find it useful, Luc!

February 7, 2008 at 9:53 pm

Thanks, Luc!

February 7, 2008 at 2:22 pm

Nice lists, again. Very useful as reference.

[…] Conveying Sadness & Grief […]

[…] Sadness/Grief […]

Let’s Write Sadness

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

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

Sad Body Language and Speech

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

Sadness in Expressions

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

What Sadness Feels Like

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

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

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7 responses to “Let’s Write Sadness”

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

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

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

Thank you and you’re welcome!

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

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

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

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Capturing Emotion: Pro Tips to Describe Crying in Writing

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As an affiliate, we may earn a commission from qualifying purchases. We get commissions for purchases made through links on this website from Amazon and other third parties.

Capturing emotion in writing is a crucial skill for writers who want to create engaging and relatable stories. One of the most powerful emotions to convey is crying, as it can evoke a range of feelings in readers. However, describing crying in writing can be a challenge, as it requires the writer to effectively convey the physical and emotional aspects of the experience.

To help writers improve their ability to describe crying in writing, we have compiled 21 pro tips. These tips cover a range of techniques, from using sensory details to exploring the character’s thoughts and feelings. By implementing these tips, writers can create more vivid and impactful scenes that resonate with readers.

Whether you are a seasoned writer or just starting, these tips will help you capture the essence of crying in your writing. By mastering the art of describing emotions, you can create stories that are both compelling and emotionally resonant.

Understanding Emotion in Writing

The Role of Emotion in Storytelling

Emotions play a crucial role in storytelling. They help to create a connection between the reader and the characters in a story. When a character experiences joy, love, fear, sadness, happiness, surprise, anger, or any other emotional state, the reader can relate to them and become emotionally invested in the story.

Describing emotions in writing is an art form. It requires the writer to use vivid language and sensory details to convey the character’s emotional state. The goal is to make the reader feel what the character is feeling, to experience the emotions as if they were their own.

Connecting with the Reader’s Emotions

To connect with the reader’s emotions, the writer must first understand their emotional state. They must be able to tap into their own emotions and use them to create authentic and relatable characters.

One way to do this is by creating relatable characters. Characters that the reader can see themselves in, characters that experience the same emotions that they do. This allows the reader to connect with the characters on a deeper level and become emotionally invested in their story.

Another way to connect with the reader’s emotions is by using sensory details. Describing the sights, sounds, smells, tastes, and feelings associated with an emotional experience can help to create a vivid and immersive experience for the reader.

In conclusion, understanding emotion in writing is essential for creating engaging and relatable characters. By using vivid language, sensory details, and relatable characters, the writer can connect with the reader’s emotions and create a powerful emotional experience.

Characterization and Emotional Depth

Building a Multi-Dimensional Character

Creating multi-dimensional characters is essential to capturing emotions such as crying in writing. A multi-dimensional character has depth, complexity, and nuance. To achieve this, writers need to think beyond the surface level and consider the character’s backstory, personality, and behavior.

A well-crafted protagonist with relatable traits and a unique personality can help readers connect with the character and feel their emotions. When a character is multi-dimensional, their reactions to events are more believable, and the reader can empathize with them.

Character Reactions and Personality

When a character cries, their reaction should be consistent with their personality. For example, a character who is stoic and unemotional may try to hide their tears, while a character who is more open and vulnerable may cry openly.

It’s also important to consider the reason for the character’s tears. Are they tears of joy, sadness, anger, or frustration? The reason for the tears will impact the character’s behavior and personality.

In summary, capturing emotions such as crying in writing requires multi-dimensional and relatable characters with consistent reactions and behaviors. By building complex characters, writers can create emotional depth and connect with readers on a deeper level.

Describing the Act of Crying

Crying is a natural and often emotional response to various situations. As a writer, it is important to be able to describe the act of crying in a way that is both accurate and evocative. In this section, we will discuss some tips for describing the act of crying in writing .

Physical Descriptions of Crying

When describing the act of crying, it is important to consider the physical aspects of the experience. This includes body language, facial expressions, and physical sensations. Some common physical descriptions of crying include:

• Tears streaming down my face
• Quivering lips
• Shaking or trembling
• Clenched fists
• Hunched or slumped posture
• Red or puffy eyes
• Deep, shuddering breaths
• Wrinkled forehead

By incorporating these physical descriptions into your writing, you can help your readers visualize the act of crying and better understand the emotions behind it.

Crying in Different Contexts

Crying can occur in a variety of different contexts, each of which may require a different approach to describing the act. For example, crying in a sad or emotional context may involve more tears and a slower rhythm, while crying in a stressful or frustrating context may involve more rapid breaths and a louder volume.

Varieties of Crying

There are many different types of crying, each with their own unique characteristics. Some common varieties of crying include:

• Silent tears
• Crying in fits and starts

By incorporating these varieties of crying into your writing, you can add depth and nuance to your descriptions and help your readers better understand the emotions behind the tears.

Language and Tone in Crying Scenes

Choosing the Right Words

When it comes to describing crying scenes, the words you choose can make all the difference. It’s important to select words that accurately convey the emotions being experienced, while also avoiding language that may come across as cliché or overly dramatic.

One effective approach is to use specific, sensory language. For example, instead of simply saying “she cried,” try describing the tears themselves: “tears streamed down her face,” “her cheeks were wet with tears,” or “her eyes were red and puffy from crying.” This type of language helps to create a vivid image in the reader’s mind, while also conveying the intensity of the emotion being experienced.

Another important consideration is the level of detail you include. While it’s important to paint a clear picture of the scene, including too much detail can distract from the emotional impact. Instead, focus on the most important elements, such as the character’s physical reactions and the words they speak.

Setting the Tone Through Language

The tone of a crying scene can be influenced by the language used to describe it. For example, using short, choppy sentences can create a sense of urgency and tension, while longer, more flowing sentences can convey a sense of sadness or melancholy.

Dialogue can also play a key role in setting the tone of a crying scene. Authentic, realistic dialogue that reflects the character’s emotional state can help to create a sense of empathy and understanding in the reader. However, it’s important to avoid cliché or overly dramatic dialogue that may come across as insincere or melodramatic.

Silence and subtext can also be powerful tools for conveying emotion in a crying scene. Sometimes, what is left unsaid can be just as impactful as what is spoken aloud. By focusing on the character’s internal thoughts and feelings, you can create a sense of depth and authenticity that resonates with readers.

In summary, the language and tone used in crying scenes can have a significant impact on the emotional impact of the scene. By choosing the right words, setting the tone through language, and using effective dialogue, silence, and subtext, writers can create powerful, authentic scenes that resonate with readers.

Incorporating Body Language and Sensory Details

When it comes to describing crying in writing, incorporating body language and sensory details can help to convey the emotions of the character more effectively.

Body language can include everything from the way a character’s shoulders slump to the way their hands tremble. Describing these physical cues can help to paint a more vivid picture of the character’s emotional state. For example, a character who is crying might have their shoulders hunched forward and their head bowed, indicating a sense of defeat or sadness.

Facial expressions are also an important aspect of body language. Describing the way a character’s face contorts when they cry can help to convey the intensity of their emotions. For example, a character might have their eyes squeezed shut and their lips pressed tightly together, indicating that they are trying to hold back their tears.

In addition to body language, sensory details can also be used to describe crying in writing. Sensory details can include everything from the sound of a character’s sobs to the taste of their tears. For example, a character might let out a loud, guttural sob that echoes through the room, or they might taste the saltiness of their tears as they cry.

By incorporating both body language and sensory details, writers can create a more immersive and emotional experience for their readers.

Emotional Reactions and Nuance

Subtle emotional responses.

When writing about crying, it’s important to consider the subtle emotional responses that accompany tears. These responses can include a quivering lip, a furrowed brow, or a slight tremble in the voice. It’s important to describe these nuances to create a realistic and believable emotional experience for the reader.

One way to do this is to use sensory details. For example, describing the taste of salt on the character’s lips or the sound of a shaky breath can help convey the emotional state of the character. It’s also important to consider the context of the situation and the character’s personality when describing these subtle emotional responses.

Complex Emotional Experiences

Crying is often a complex emotional experience that can involve a range of emotions beyond just sadness. It can involve feelings of desperation, embarrassment, or nervousness. It’s important to accurately capture these emotions to create a realistic and nuanced portrayal of crying.

One way to do this is to use contrast. For example, describing a character’s tears of joy can create a complex emotional experience that goes beyond just sadness. It’s also important to consider the character’s past experiences and personality when describing these complex emotional experiences.

Overall, capturing emotion in writing requires a deep understanding of the nuances of human emotion and a commitment to portraying these emotions in a realistic and nuanced way. By paying attention to subtle emotional responses and complex emotional experiences, writers can create powerful and impactful stories that readers can trust.

Utilizing Literary Devices

When it comes to describing crying in writing, utilizing literary devices can be a powerful tool for capturing the emotions of the moment. Here are some tips for using metaphors, similes, symbolism, and subtext to enhance your writing:

Metaphors and Similes

Metaphors and similes are great tools for describing emotional states. A metaphor is a figure of speech in which a word or phrase is applied to an object or action to which it is not applicable. A simile is a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid. When used effectively, metaphors and similes can help readers connect with the emotions being described.

For example, instead of simply saying “she cried,” a writer could use a metaphor or simile to convey the intensity of the emotion. Here are some examples:

• “Tears streamed down her face like a river of sadness.”
• “Her sobs were like the sound of a wounded animal.”
• “She cried until her eyes were red and puffy, like a child who had been crying for hours.”

Symbolism and Subtext

Symbolism and subtext are also powerful tools for conveying emotion in writing. Symbolism involves using objects, actions, or images to represent something else, often an abstract concept or idea. Subtext, on the other hand, refers to the underlying meaning or message that is implied but not explicitly stated.

For example, a writer might use the symbol of a wilting flower to represent the loss of hope or the end of a relationship. Or they might use the subtext of a character’s actions to imply their true feelings, even if they are not explicitly stated.

Using symbolism and subtext effectively requires a masterful understanding of language and storytelling. However, when done well, they can add depth and complexity to a story, making it more engaging and memorable for readers.

In conclusion, by utilizing literary devices such as metaphors, similes, symbolism, and subtext, writers can capture the emotions of crying in a way that is both powerful and memorable. By using these techniques, writers can create a vivid and engaging story that resonates with readers long after they have finished reading.

Avoiding Cliches and Stereotypes

When it comes to describing crying in writing, it’s important to avoid cliches and stereotypes. These overused phrases and ideas can make your writing feel unoriginal and uninspired. Instead, strive to find creative ways to describe the emotions your characters are feeling.

One common cliche is describing tears as “falling like rain.” While this may be a vivid image, it’s been used so often that it has lost its impact. Instead, try to come up with unique descriptions that capture the specific emotions of your character. For example, you might describe tears as “streaming down her face like tiny rivers, carving paths through her makeup.”

Another way to avoid cliches is to steer clear of stereotypes. For example, it’s easy to fall into the trap of describing women as “hysterical” or “overly emotional.” These stereotypes are not only offensive , but they also don’t accurately reflect the wide range of emotions that people of all genders can experience. Instead, focus on describing the specific emotions your character is feeling, rather than relying on tired stereotypes.

Overall, when it comes to describing crying in writing, it’s important to be creative and avoid cliches and stereotypes. By doing so, you can create more nuanced and engaging descriptions that capture the true depth of your character’s emotions.

The Impact of Setting and Context

The setting and context in which a person is crying can greatly impact how their emotions are perceived by the reader. For example, crying at a funeral may evoke feelings of sadness and grief, while crying at a happy celebration may evoke feelings of joy and relief.

Color can also play a role in the impact of the setting. A gray and gloomy day may intensify the feeling of sadness, while a bright and sunny day may intensify the feeling of relief. Memories associated with the setting can also play a role in how the crying is perceived. For example, if the setting is a childhood home, the memories of the past may intensify the emotions being felt.

The company of others can also impact how crying is perceived. Crying alone may evoke feelings of sadness and isolation, while crying in the presence of loved ones may evoke feelings of comfort and support. Relief and exhaustion can also be conveyed through the context of the crying. For example, if a character has been holding back tears for a long time, their crying may be accompanied by a sense of relief and exhaustion.

It is important to consider the context and setting in which a character is crying to accurately convey their emotions to the reader. By using descriptive language and incorporating sensory details, the impact of the setting and context can be effectively conveyed to the reader.

Emotional Arcs and Plot Development

Integrating emotion into the plot.

Incorporating emotional arcs into the plot is essential to create a compelling story that resonates with readers. Emotional arcs are the highs and lows of a character’s emotional journey throughout the story. It is important to ensure that the emotional arcs align with the plot points to create a cohesive and engaging story.

One way to integrate emotion into the plot is to have intense emotional moments at key plot points. For example, a character may break down in tears after a major setback or experience overwhelming joy after achieving a goal. These emotional moments can add depth to the plot and make it more relatable to readers.

Character Development and Emotional Growth

Emotional arcs also play a crucial role in character development and emotional growth. As the story progresses, characters should experience emotional growth and change in response to their experiences. This growth can be demonstrated through changes in behavior, beliefs, and values.

To effectively convey emotional growth, it is important to write from the point of view of the character experiencing the emotions. This allows readers to connect with the characters on a deeper level and understand their emotional journey.

Writing with emotion is key to creating a story that resonates with readers. By integrating emotional arcs into the plot and demonstrating emotional growth in characters, writers can create a compelling and engaging story that leaves a lasting impact on readers.

Types of Crying in Literature

Crying is a natural human response to a range of emotions, and in literature, it can be used to add depth and realism to characters and their experiences. There are different types of crying that authors can use to convey different emotions, including:

Happy Crying

Happy crying is when tears are shed in response to a positive emotion, such as joy or relief. It can be used to show a character’s happiness or gratitude and can be a powerful way to evoke emotion in readers. Happy crying can also be used to show a character’s vulnerability and emotional depth.

Tears of Sadness

Tears of sadness are perhaps the most common type of crying in literature. They are shed in response to negative emotions such as grief, heartbreak, or despair. Tears of sadness can be used to show a character’s pain and suffering and can be a powerful way to evoke empathy in readers. They can also be used to show a character’s resilience and strength in the face of adversity.

Crying in Solitude

Crying in solitude is when a character sheds tears alone, away from others. It can be used to show a character’s vulnerability and emotional pain, as well as their need for privacy and space. Crying in solitude can also be used to show a character’s introspection and self-reflection, as they process their emotions and thoughts.

In literature, the use of different types of crying can help to create more complex and realistic characters and can add depth and emotion to a story. By understanding the different types of crying and their meanings, authors can create more impactful and meaningful writing.

Crafting the Emotional Experience

Manipulating reader emotions.

To capture the reader’s emotions, the writer must first understand how to manipulate them. The key to this is to create a connection between the reader and the characters in the story. This can be achieved by showing vulnerability, relatable experiences, and realistic reactions to situations.

One effective way to manipulate reader’s emotions is by using sensory details. Describing the sights, sounds, smells, and sensations associated with the character’s emotional state can help the reader feel as though they are experiencing the same emotions. For example, describing the sound of someone crying, the taste of tears, or the feeling of a lump in the throat can help the reader empathize with the character.

Another way to manipulate emotions is through the use of pacing. Slowing down the pace of the story during emotional scenes can help the reader fully immerse themselves in the experience. This can be achieved by using longer sentences, descriptive language, and focusing on the character’s internal thoughts and feelings.

Balancing Emotion and Action

While it’s important to capture the emotional experience, it’s equally important to balance it with action. Too much emotion can overwhelm the reader and make the story feel melodramatic, while too much action can leave the reader feeling disconnected from the characters.

To strike the right balance, the writer should focus on showing the character’s emotional reactions to the action. This can be achieved by describing the character’s physical reactions, such as trembling hands or a racing heart, as well as their internal reactions, such as fear or anger.

Additionally, the writer should consider the pacing of the action. Too much action can make the emotional impact feel rushed, while too little can make the scene feel stagnant. Finding the right balance between action and emotion can help create a powerful and memorable scene.

In conclusion, capturing emotion in writing is an essential skill that every writer must possess. Crying is one of the most powerful and evocative ways to convey emotion in writing. The ability to describe crying in writing can help writers create a deep emotional connection between their characters and readers.

The 21 pro tips outlined in this article provide a comprehensive guide on how to describe crying in writing. By using descriptive language, sensory details, and vivid imagery, writers can effectively capture the emotional depth of their characters.

It is important to remember that the goal of describing crying in writing is not to manipulate readers’ emotions but to create an authentic emotional experience. Writers must strive to convey the complexity of emotions that come with crying, including sadness, grief, joy, relief, and more.

By following these tips, writers can create powerful and moving scenes that will resonate with their readers. Whether you are writing a novel, short story, or memoir, the ability to capture emotion and describe crying in writing is a valuable skill that will elevate your writing to new heights.

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12 Awesome Descriptions For Sadness

Sadness – an emotion that everyone and anyone can easily relate to. It is one of the most popular emotions to use in school compositions. However, many students simply use the word “sad” to describe their character/s. Teach your child these descriptions to use in their compositions and they will immediately add depth to their stories.

Let’s take a look at the 12 Awesome Descriptions For Sadness today:

1. She tried to speak, but she was  choked with tears .

2. His  tearstained face was puffy and swollen with grief .

3.  Crestfallen , he realised that his only chance to succeed was gone.

4. He had  a lump in his throat  and was  blinking away the tears.

5.  Sorrowfully , he buried his dead golden retriever at the bottom of the garden and  wept a silent tear .

6.  A hush fell  as the bereaved elderly man entered the church. During the service, he was  racked by sobs .

7. “Not again!” he  groaned in misery .

8. “Why would she do that to me?”  snivelled  Giselle  miserably .

9. For months, the  gnawing grief  kept him awake at night.

10. Jason announced the tragic news with  a heavy heart .

11. Sitting there alone,  misery was written all over his face .

12. He found himself  in the depths of misery .

Encourage your child to use these descriptions in the tests and examinations. Help them familiarise with these phrases through simple activities by writing short introductory paragraphs with one or two of the descriptions, or give them short dictation quizzes!

For over 15 years,  Augustine’s English Classes  has helped hundreds of students fall in love with the subject and excelling in school exams. If you are interested to know how our classes work, or what our secret winning formula is, do feel free to drop us a message or give us a call.

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How to Describe Facial Expressions in Writing

When writing about facial expressions, most writers are content to keep it simple. Why put more effort into describing a character’s expression when “he frowned angrily” gets the point across? Well, since you made it to this article, you probably aren’t like other writers. You know that keeping things vague and simple or including overused adverbs to simplify descriptions can impact the flow of your story as a whole. You know that a little extra effort can go a long way. 

Every time you describe a character’s expression, you have an opportunity to reveal more about their personality, intentions, and complex emotions—so don’t take the easy way out! Expressions have so much potential to show a character’s true colors! However, it’s not always easy to know how to approach describing facial expressions. Understanding the characteristics of each expression is the first step towards knowing how to properly describe them in your own writing.

Describing Different Facial Expressions

Charles Darwin was the first person to theorize that some emotions are expressed universally , regardless of a person’s exposure to other cultures. The greater scientific community disagreed with this theory, including Dr. Paul Ekman. Ekman ran a social experiment in the late 20th century with the intention of proving Darwin wrong, but he accidentally ended up proving this theory to be correct. 

Now, we know that there are 7 universal emotions that every single culture in the world expresses in the same way. Emotions are expressed innately, and the faces people make when experiencing different emotions are based on natural instinct. 

The seven universal expressions are:

So what does this mean for you? When writing about emotions, it can be really tempting to simply say that the character is feeling angry or disgusted, because that’s easy to write. However, it feels so much more authentic to a reader if they can figure out how a character is feeling based on the descriptions you give about their facial features. Rather than being told how to feel, readers can pick up on the character’s emotions on their own. 

This is based on the technique “show, don’t tell.” If you want to learn more about that, check out Show, Don’t Tell: What it is and How to Write it .

Now let’s get into the specifics of each expression. 

Describing Anger

Describing an angry facial expression is fairly straightforward because it is such a strongly expressed emotion. Anger affects the entire face, so there are many options for writing about how the different features change. Here are some of the telltale signs of anger in a person’s expression:

• Their eyebrows would be lowered and pulled closer together
• Their eyelids would become squinted or raised (or their eyes may bulge if they are enraged)
• Their lips would tighten or curl inwards
• The corners of their mouth would point downwards
• Their Jaw would be tense and might jut forward slightly
• Vertical wrinkles may appear between their eyebrows
• Their nostrils may flare outwards

Anger is a powerful emotion, and it affects more than just the face. When someone gets angry, it usually triggers their body to produce adrenaline (the “fight-or-flight” hormone), which can come with a host of bodily side-effects that can give the anger away. These sides effects include things like:

• Increased heart rate
• Rapid breathing
• Flushed face
• Restless movements

There’s a lot more to anger than the expression. If you want more pointers for writing about anger, I have another article you might want to read: Writing a Character with Anger Issues . 

Describing Happiness

A smile is a great way of showing your readers more about the character, so don’t just leave it at “she smiled.” What does her smile look like? Is it warm, authentic, humorless, mocking, or cruel? Is the character amused, nervous, or happy? A smile can mean many things, and it can even foreshadow a character’s hidden traits. A cold smile can indicate a more sinister nature without you having to work very hard at making them seem that way. 

Here are some of the signs that a character is actually happy:

• Their eyes squint slightly
• Wrinkles appear at the corners of their eyes
• Their cheeks raise
• A defined wrinkle runs from the sides of their nose to the corners of their mouth, known as “smile lines”
• The corners of their mouth move up at a diagonal, widening their mouth
• Their mouth may part, exposing teeth 

Now, a character doesn’t have to have all of those elements in their expression if they are feeling good. For example: 

“His face relaxed, but I could still see the faint outline of wrinkles around his eyes—eyes which seemed to sparkle ever so slightly despite the dullness of the room. Even the corners of his mouth seemed to fight against his normally stoic expression, betraying how he really felt.” 

However, a smile is an expression that is commonly faked. If you want to show that a character is faking a smile, make sure their eyes don’t match the rest of the expression. True happiness is expressed with the eyes, so when a person smiles without showing it in their eyes, it comes across as cold and ingenuine. 

Describing Sadness 

Sadness is a difficult emotion to portray because it is often complex and confusing. Even the character experiencing the sadness might not understand exactly why they feel that way. With that said, there are a few universal signs of the expression, such as:

• Their eyebrows will lower and pulled closer together
• The inner corners of their eyebrows will be angled up
• The corners of their mouth will be drawn downwards
• Their lips may be either drawn in tightly or pouting outwards

Another familiar telltale sign of sadness is crying. There are so many ways to describe crying that I couldn’t possibly cover all of them here, but I’ll give you a few pieces of advice:

• Tears first pool in the eyes before they streak down a person’s cheeks.
• Tears distort vision, so if you’re writing in the first person, don’t forget that your character’s vision will be blurry. 
• Crying usually isn’t a pretty sight, so don’t be afraid to show that the character’s face is red or that their nose is running.

So, sadness is a complex emotion—but what does that really mean? Well, there are many different ways that sadness can be felt and expressed depending on the intensity of the emotion, and there many different things that can trigger a sad response in a character. When a character is truly heartbroken, their expression may change to be more numb: their mouth may hang open loosely, their eyes may remain closed, and the rest of their body may become limp and heavy. 

Complexity also means that sadness is often experienced in tandem with another emotion, such as anger, happiness, or disgust. I’ll get more into how to write complex expressions later though, so read on! 

Describing Fear

Fear is another difficult emotion, because there are many different degrees and types of fear a character can feel. In general, however, these are the guidelines you should follow for describing a fearful expression:

• Their eyebrows would be pulled up and together
• Their upper eyelids would be pulled up, and their lower eyelids would be tense and drawn up as well
• Their mouth would be stretched and drawn back, possibly exposing teeth

There are a few distinctions you need to remember: fear is not the same as nervousness or surprise. The expression for surprise looks different, and although nervousness is often a precursor to fear, they are not the same. If you want tips for writing about nervousness, check out my other article: How to Write a Nervous Character . 

You’ve probably noticed that the expressions for fear and anger share a lot of similarities, including the “fight-or-flight” response. However, the context of the situation is usually enough to tip the readers off to which emotion the character is feeling.

Another way to distinguish the two is with the character’s body language. If a character is angry, they are going to move deliberately and with confidence. They will take up space and command attention with the way they move. An angry person is usually on the offensive, while a fearful person is going to be defensive. A fearful person may try to make themself small to avoid drawing attention, or they may instinctively shrink away from whatever is frightening them. 

Describing Surprise

Surprise functions differently from the other universal emotions. Unlike all the others on the list, surprise is fleeting, and will typically be expressed in only a few seconds. That is most evident with jumpscares, like in haunted houses or video games (or if something suddenly traumatic happens in front of your character), but there are instances in which the expression can linger. Walking into a grand cathedral, being proposed to, or receiving horrible news are all situations in which a surprised expression may stay for longer than a few seconds. 

Here are the unmistakable characteristics of a surprised character:

• Their eyebrows would be raised
• Horizontal wrinkles would appear on their forehead
• Their jaw would go slack
• Their mouth would hang open loosely 
• Their eyes would widen

As with anger and fear, surprise triggers the “fight-or-flight” response. Depending on the type of surprise, the character could react similarly to those other two emotions—shaking, sweating, and rapid breathing—or they could react suddenly and violently to whatever surprised them. They could lash out to defend themself, run away from the perceived threat, or simply freeze in place. 

If you want to learn more about surprising your characters and your readers in your writing, check out my other article: Writing Surprised Characters .

Describing Disgust 

You’ve probably read “her nose wrinkled in disgust” a million times before, but you shouldn’t get comfortable with writing like everybody else. While it’s true that the wrinkled nose is a key characteristic of the expression, so much more goes into making it complete. A disgusted expression affects the entire face, like so:

• Their eyebrows would be pulled down
• Their nose would be wrinkled
• Their upper lip would be pulled up
• Their lips would be loose
• Their eyes would narrow
• Their teeth may be exposed
• Their cheeks may be raised

You’ve probably also read “she recoiled in disgust” before, since that’s another popular writing cliché. As with other emotions, body language plays a part in this, but don’t write it the same way as everyone else. Also, and this should go without saying by now, don’t tell the readers that the character is disgusted— show them . For example:

She stumbles back, her hands clutching the front of her delicate blouse. 

“What is that!?” she gasps, narrowing her eyes at the drooling monster in front of her. 

“It’s my pet.” I respond, making her wrinkle her nose. 

Describing Contempt

Contempt is an interesting emotion, but it is one that is often overlooked. A character that is feeling contempt could assume they are being lied to, that they are right and someone else is wrong, or that someone or something is not worth their time and attention. It is associated with a sense of superiority and apathy. The signs that a character is feeling contempt are:

• Their eyes would be unengaged
• One side of their mouth is pulled up and back
• One of their eyebrows may pull upwards
• Their head may tilt back slightly, making their gaze follow down their nose

This emotion is not a passionate one, meaning the expression is typically somewhat subtle. However, the degree to which the emotion is expressed is going to depend on the character and the context. 

Describing Complex Emotions

Now that you know the expressions for each of the 7 different universal emotions, it’s time to mix and match. Emotions are not always clearly divided; a person can feel several different emotions at the same time. They could be feeling happy and sad at the same time, or angry and disgusted. They could even be feeling anger, disgust, fear, and surprise all at the same time.

Emotions can conflict and overlap with each other, creating a unique expression as they are all experienced at once. Try to sort through the emotions your character is feeling in order to figure out how to describe their expression. There is usually a dominant emotion that will define the majority of the expression, but elements of other expressions would creep in. 

Let’s consider an example: a character has just caught their partner cheating. They are likely to be surprised, angry, and sad all at the same time, but the dominant emotion will depend on the character. One character may get angry, and express all the normal features of an angry expression, but have tears spilling down their cheeks. Another character may have surprise as their dominant emotion, but scowl in anger. Yet another type of character could feel contempt as their dominant emotion, yet grimace in disgust at the sight. 

When two or more emotions are fighting for dominance, and a character cannot decide how to feel, their expression can become confused . Although confusion is not recognized as a universal emotion, here are some options for showing that a character is feeling conflicted or confused:

• Their eyebrows may be drawn together
• A vertical wrinkle may appear between their eyebrows
• Their mouth may be pulled in tightly
• The corners of their mouth may point downward
• They may glance around in different directions
• They may let their mouth hang open loosely, or open and close their mouth several times (especially before speaking)
• They may swallow excessively
• They may fidget or touch their face

Writing About MicroExpressions

Sometimes, characters will try to conceal their emotions, but there will still be signs of how they really feel in their expression. Microexpressions are tiny glimpses of the true emotion that a person feels, quickly followed by a false expression to mask that emotion. Although these usually last a fraction of a second, you can use them to tip readers off to how the character is really feeling. Microexpressions can also be a good way of indicating that a character is lying. 

To write about microexpressions, all you need to do is show little hints of one or more different features of the full expression, but make sure to note that it is only on the character’s face for a brief moment in time. You can use just about any feature of the expression for the microexpression, as long as it is indicative of the emotion by itself. Here are some examples:

• A character trying to mask anger may draw their lips in tightly, then smile. 
• A character trying to mask happiness may squint their eyes, then adopt a stoic expression. 
• A character trying to mask sadness may bring the inside corners of their eyebrows up, then adopt a happy expression. 
• A character trying to mask fear may tense up and bare their teeth, then act angry to make it seem like they were never afraid. 
• A character trying to mask surprise may widen their eyes, and quickly adopt a contemptuous expression to brush off their surprise.
• A character trying to mask disgust may wrinkle their nose, then act surprised to hide their disgust. 
• A character trying to mask contempt may have one eyebrow twitch upwards slightly, then adopt a pleasant smile. 

Remember that the choices you make when describing a character’s expressions can also indicate personality traits, trustworthiness, and likeability. Once you understand the different elements of each universal expression, you can modify it to reveal more about the character in question. Microexpressions can help you reveal more depth to your characters, and make each individual seem more complex. 

Some Tips for Describing Facial Expressions

Although you know how to describe the expressions for the 7 universal emotions, you could still benefit by observing and analysing these expressions yourself. One of the best ways to do this is to study people’s expressions. Pay attention to the actors’ faces when you are watching a movie or show, and try to take note of the little changes in their expressions. You need to be able to put the theory of expressions in practice, and observing real people is the best way to understand how to apply it.

If you are having difficulty describing a character’s expression, try acting out the scene. Imagine the setting, and read the dialogue out loud. How do you feel? What would be going through your mind? Really try to embody the character, and take note of the expression that comes naturally to you. Recreate it in a mirror, or record yourself with your cell phone, and use that as a guide. 

Good luck, and keep writing!

How To Describe Guilt In Writing [17 Best Tips + Examples]

As a writer, my goal is to bring characters and their emotions to life, creating a vivid world into which readers become immersed.

One complex emotion that can challenge the most accomplished writer is guilt.

Here is how to describe guilt in writing:

Describe fear in writing by focusing on its multifaceted nature, involving feelings of responsibility or remorse for perceived offenses. This complex emotion affects characters psychologically, influencing their self-esteem, anxiety levels, decision-making, and body language.

In this article, I’ll share 17 essential tips and examples on how to effectively convey guilt in writing.

Understanding Guilt: Interpreting the Emotion For Authentic Writing

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Guilt is a multifaceted emotion involving feelings of responsibility or remorse for perceived offenses, both real and imaginary.

This state of emotional conflict has psychological implications that can drive character behavior and influence narrative arcs.

Writers need to consider guilt’s roots in morality and personal ethics, which can manifest as self-loathing, paranoia, and even physical reactions like insomnia or a haughty look.

The Psychological Underpinnings of Guilt

When delving into the psychological aspects of guilt, it becomes clear that this complex emotion can hold significant power over a person’s thoughts, actions, and behaviors.

A few examples of guilt’s psychological implications include:

• Issues with self-esteem: When individuals feel guilty, they may experience a decline in their self-esteem and self-worth.
• Anxiety and stress: Guilt often brings about heightened anxiety and stress levels, as the person may constantly worry about their offense and its consequences.
• Impacts on decision-making: A guilty conscience can lead to indecisiveness and hasty decisions in an attempt to rectify the situation or alleviate feelings of guilt.

Understanding these psychological underpinnings aids writers in crafting more believable character portrayals in their narratives.

Common Misconceptions About Guilt in Literature

Misconceptions about guilt often arise from the false dichotomy between guilt and innocence or the over-simplification of guilt as a singular emotion.

Literary depictions sometimes fail to recognize that guilt encompasses a spectrum of feelings and associated behaviors.

Some of the common misconceptions include:

• Guilt always leads to confession or redemption: In reality, guilt doesn’t always prompt characters to confess their wrongdoings or seek redemption. It can drive them to act irrationally, avoid confrontation, or even self-harm.
• Characters portraying guilt are one-dimensional: Guilt-ridden characters can have layered, multifaceted personalities, and their experience of guilt may contribute to their overall depth and complexity.
• Guilt is solely a negative emotion: While guilt is often seen as a negative emotion, it can also serve as a catalyst for growth, self-awareness, and positive change.

Addressing these misconceptions while writing allows for a more compelling and authentic portrayal of guilt in one’s narrative.

Here is a good video to understand guilt:

The Role Of Guilt In Character Development

Guilt can serve as a powerful catalyst in character development, acting as an internal force that shapes a character’s journey.

The weight of guilt might push a character to seek penance, cause internal conflict, or even spur a transformation. By integrating guilt effectively, writers can reveal vulnerabilities, trigger growth, and initiate a slide into further moral ambiguity.

• Revealing vulnerabilities
• Triggering growth
• Initiating moral ambiguity

These dimensions of a character’s emotional experience allow readers to connect with them on a deeper, more personal level.

Seeking Penance

One common way that guilt impacts a character is by motivating them to seek penance for their perceived wrongdoings.

This can manifest in various forms, such as trying to make amends, seeking forgiveness, or engaging in self-sacrificial acts. For example,  Edmond Dantès  from Alexandre Dumas’  The Count of Monte Cristo  spends years plotting intricate revenge against his wrongdoers to atone for the injustice that landed him in prison.

Internal Conflict

Another way guilt influences character development is by causing internal conflict.

This turmoil can arise when a character’s conscience is torn between conflicting desires, beliefs, or values. For instance,  Hester Prynne , the protagonist of Nathaniel Hawthorne’s  The Scarlet Letter , grapples with her feelings of shame and pride after being publicly punished for adultery.

Spurring Transformation

Finally, guilt can act as a catalyst for personal growth or a descent into moral ambiguity.

When a character is consumed by remorse, they may be moved to change or embrace darker aspects of themselves. In Fyodor Dostoevsky’s  Crime and Punishment ,  Rodion Raskolnikov  commits a brutal murder and subsequently wrestles with feelings of guilt, leading to his eventual confession and redemption.

Consider the examples in the chart below:

Describing Guilt Through Body Language

Conveying guilt in writing can be achieved through the careful use of body language.

Utilizing Subtle Gestures To Convey Guilt

Subtle gestures such as darting glances, nervous fidgeting, or a rapid bouncing gaze can reveal a character’s struggle with their conscience, building tension and providing insight into the inner workings of their mind.

These understated behaviors suggest a character’s emotional turmoil without resorting to obvious or clichéd expressions of guilt.

Matching Body Language With The Intensity Of Guilt

The intensity of guilt can be mirrored through more pronounced body language.

For instance, rapid, fevered apologies or manifestations of paranoia may indicate a profound sense of guilt. To maintain believability and ensure consistency with the character’s psychological profile, make sure that body language aligns with the severity of the offense.

Breaking Down The Emotion Thesaurus For Guilt Cues

The Emotion Thesaurus by Becca Puglisi offers an extensive list of guilt cues, both physical and mental.

This valuable resource aids writers in depicting guilt through a wide array of cues that create a vivid emotional landscape for their characters.

Some examples include:

• Self-inflicted pain as a form of penance
• Insomnia due to a guilty conscience
• A harried look that betrays inner turmoil

Verbal Expressions Of Guilt: Dialogue Techniques

Guilt is a complex emotion that can affect a character’s behavior and decision-making, often driving crucial plot developments.

One of the most effective ways to convey this emotion in your writing is through dialogue.

Employ subtle verbal cues to hint at a character’s underlying remorse or responsibility for a transgression, revealing hidden layers of guilt and engaging readers in the process.

Crafting Conversations That Reveal Hidden Guilt

When crafting conversations that reveal hidden guilt, consider incorporating the following techniques:

• Hesitant speech: Characters experiencing guilt might stutter, pause frequently, or struggle to articulate their thoughts, indicating their inner turmoil.
• Cracking voices : Emotional distress from guilt can manifest as a shaky or strained voice, revealing the character’s vulnerability.
• Fervent denials: Unwilling to accept responsibility, a character may vehemently deny any wrongdoing, even when confronted with evidence. This reaction can indicate guilt without explicit acknowledgment.
• Repetitive apologies: In contrast, some characters might repeatedly apologize for perceived offenses, openly expressing their remorse and the intensity of their guilt.
• Evasive answers: Characters struggling with guilt might avoid answering direct questions or shifting blame to others, embodying their internal conflict and fear of confronting their actions.

It’s essential to maintain consistency with a character’s established personality and emotional range.

Additionally, consider the context and severity of the offense, ensuring that the verbal cues align with the situation to create a believable and engaging narrative.

Portraying Internal Guilt: Thoughts and Reflections

When writing about guilt, it’s crucial to go into a character’s private thoughts and reflections, where they silently grapple with feelings of remorse or self-accusation.

This intimate glimpse into a character’s psyche provides valuable insight into how guilt impacts their decision-making.

Not to mention their self-perception.

Conveying internal guilt can serve as a powerful counterpoint to external expressions of guilt.

Effective ways of portraying internal guilt include:

• Revealing a character’s inner monologue as they replay past mistakes or question their actions
• Describing the tumultuous emotions felt by the character, such as regret, self-loathing, or frustration
• Highlighting the character’s psychological struggles, including difficulty concentrating, feelings of unworthiness, and a deteriorating sense of self

A character’s internal guilt can also lead to increasingly reclusive behavior or acts of self-punishment, providing another layer of depth to the narrative. For example:

• A character, overwhelmed with guilt, withdrawing from social situations and distancing themselves from others
• Self-isolation, as the character spends time alone to reflect on their actions and find solace
• A character engaging in acts of self-punishment, such as denying themselves simple pleasures or pushing themselves harder in work, as a way to atone for their perceived sins

Balance internal and external expressions of guilt to craft a compelling, three-dimensional portrayal of this complex emotion.

Setting The Scene: Using Environment And Atmosphere To Reflect Guilt

When creating a narrative that involves guilt, one essential aspect writers must consider is the use of setting and atmosphere to reflect the character’s inner turmoil.

These tools help to externalize the character’s emotions and translate them into tangible elements that the reader can experience.

This not only bolsters the story’s immersive quality but also enhances the portrayal of the character’s guilt without the need for explicit exposition.

A gloomy or oppressive atmosphere can be utilized to mirror the character’s weighted conscience.

Descriptions of dark clouds, overcast skies, or disorienting fog, for example, can evoke feelings of uncertainty and unease.

In contrast, chaotic or disheveled settings can symbolize the character’s mental state, projecting their turmoil onto the environment around them.

• Signs of disarray, such as strewn papers, overturned furniture, or cluttered spaces
• Abrupt changes in weather, such as rainstorms reflecting emotional outbursts
• The encroachment of shadows or darkness, suggestive of guilt creeping in
• Confining spaces, such as narrow alleys, low ceilings, or cramped quarters, to evoke feelings of entrapment

These environmental cues can be skillfully integrated into the narrative to fortify the storytelling and provide an enhanced understanding of the character’s emotional state.

Enhancing The Narrative With Guilt: Examples Across Genres

Guilt looks different in different kinds of stories.

Romance Example

In romance writing, guilt can add complexity to relationships, whether through secrets, betrayals, or past mistakes.

Characters navigating feelings of guilt must confront their emotions and seek forgiveness before a resolution is possible. This tension heightens the emotional stakes and drives character development within the romantic narrative.

Here is an example of guilt in romance:

Julia’s guilt was a silent specter haunting every moment with Mark. Despite their deepening bond, her secret loomed like an unspoken third party, casting a shadow over their shared smiles and tender glances. Julia’s guilt was evident in the way her laughter would falter mid-chuckle, her eyes flickering away, hiding a storm of remorse. When Mark’s hands found hers, her fingers trembled, not just with love, but with the weight of unconfessed truths. Their walks in the moonlit park, once a canvas for romantic whispers, now felt like a stage for Julia’s internal struggle. The rustling leaves seemed to whisper her secrets, and the cool breeze felt like judgment on her skin. In these moments, Mark’s touch, once a source of comfort, now felt like an unearned gift, intensifying her inner turmoil. Mark, perceptive as ever, sensed a change. His gaze, once filled with unadulterated adoration, now carried a hint of concern. “Is everything alright?” he’d ask, his voice a blend of worry and hope. Julia’s responses were always a careful mix of reassurance and evasion, her smile never quite reaching her eyes.

Mystery and Thriller Example

Guilt serves as a driving force in mysteries and thrillers, affecting both suspects and detectives alike.

A suspect’s guilt may hold key clues to the unraveling of the plot, while a detective’s guilt over unsolved cases motivates their relentless pursuit of justice.

Both result in a gripping narrative that hinges on the consequences of guilt.

Here is an example of how to describe guilt in mystery writing:

In the dimly lit interrogation room, Detective Harris watched as the suspect, Michael, shifted uneasily in his seat. His gaze darted around the room, avoiding eye contact, a clear sign of his inner turmoil. Michael’s fingers tapped an erratic rhythm on the table, betraying his nervousness. Every question about the night of the crime seemed to tighten the invisible noose of guilt around his neck. When confronted with evidence linking him to the scene, Michael’s facade cracked. His voice, once steady, now trembled with each denial, his words spilling out too quickly, too urgently. His eyes, wide with a mix of fear and guilt, flickered to the photograph of the victim, and for a fleeting moment, they held a depth of regret that spoke volumes. Detective Harris leaned in, sensing the unraveling thread of Michael’s composure. “It’s not just about being at the scene, is it, Michael? There’s more you’re not telling us.” The accusation hung heavy in the air, and in that instant, the weight of Michael’s guilt was almost palpable, a silent confession in a room filled with unspoken truths.

Speculative Fiction Example

In speculative fiction, characters may face guilt in extraordinary circumstances or due to actions that have significant consequences in their fantastical worlds.

Writers can explore guilt arising from moral dilemmas, the misuse of power, or the impact of choices on entire civilizations. Guilt becomes a pivotal element that enriches world-building and character motivation in fantasy and science fiction.

Here is an example in speculative fiction:

In the sprawling cityscape of New Omega, where neon lights clashed with the darkness of a dystopian world, Ava stood on the rooftop overlooking the chaos she had unleashed. As a gifted hacker in this speculative fiction realm, her latest creation, an AI virus, had spiraled beyond her control, now rampaging through the city’s network, crippling vital systems. Ava’s guilt was as tangible as the electric air around her. She watched the flickering lights below, each outage a reminder of her reckless ambition. Her once proud stance, a symbol of defiance against the oppressive regime, now wilted under the weight of unintended consequences. The cold wind tugged at her coat, whispering accusations. Her hands, once steady and sure as they danced over keyboards, now trembled at the realization of her actions. She had envisioned her creation as a beacon of hope, a tool to free her people from tyranny. Instead, it had become a monster of her own making, endangering the very lives she sought to protect.

Final Thoughts: How to Describe Guilt in Writing

Sometimes the guiltiest person is the one writing the story.

Not because you’ve actually done anything wrong — but because you feel guilty for not writing, not reading, or not doing something writing-related enough.

Be kind to yourself, take a breath, and just do the next right thing.

Read This Next

• How to Describe Eyes in Writing (21 Best Tips + Examples)
• How to Describe a Greedy Person in Writing (21 Best Tips)
• How to Describe Nervousness in Writing (23 Tips + Examples)
• How to Describe Crying in Writing (21 Best Tips + Examples)

National Institute of Health (NIH) — Research on Guilt

Cheat Sheets For Writing Body Language

What is body language and how do you use it when you write? Use these cheat sheets to help you with your body language descriptions.

What Is Body Language?

People react to situations with micro-expressions, hand gestures, and posture. Most of us are not even aware of them. However, what we do with our body language has a huge impact on other people and how they interpret and perceive us.

‘Even when they don’t express their thoughts verbally, most people constantly throw off clues to what they’re thinking and feeling. Non-verbal messages communicated through the sender’s body movements, facial expressions, vocal tone and volume, and other clues are collectively known as body language.’ ( Psychology Today )

Body language happens when we are doing something. We could be sitting, standing, or walking. We could be talking or thinking . Body language is often an involuntary reaction to something perceived by one of the five senses .

How To Use It In Writing

Using body language is one of the best ways to show and not tell when we write.

This is why we are always told to use body language in our writing. Sometimes, it’s easier said than written. So, I created these cheat sheets to help you show a character’s state of mind through their body language.

When you are completing your character biographies , be sure to include how your main characters move and talk. This is especially important for your protagonist , antagonist , confidant , and love interest . They are the characters that hold the story together and they should be as well-rounded and believable as possible.

The Top Five Tips For Using Body Language

• Use body language to add depth to dialogue .
• Use it because more than 50% of human communication is non-verbal.
• Use it to show how your character’s emotions affect their actions.
• Use it to help you show rather than tell your reader everything.
• Use it in moderation. If overused, it can slow your story down.

TIP: Use our Character Creation Kit  to create great characters for your stories.

Use this list to help you with your body language descriptions. It will help you to translate emotions and thoughts into written body language.

Obviously, a character may exhibit a number of these behaviours. For example, they may be shocked and angry, or shocked and happy.

Use these combinations as needed.

Use our  Character Creation Kit  to create great characters for your stories.

If you enjoyed this, read:

• The 17 Most Popular Genres In Fiction – And Why They Matter
• How To Write A One-Page Synopsis
• 123 Ideas For Character Flaws – A Writer’s Resource
• The 7 Critical Elements Of A Great Book
• All About Parts Of Speech
• Punctuation For Beginners
• 5 Incredibly Simple Ways to Help Writers Show and Not Tell
• 5  Instances When You Need To Tell (And Not Show)
• The 4 Main Characters As Literary Devices
• 106 Ways To Describe Sounds

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Top Tip : Find out more about our workbooks and online courses in our shop .

• Body Language , Creating Characters , Show Don't Tell , Writing Tips from Amanda Patterson

53 thoughts on “Cheat Sheets For Writing Body Language”

Wow….that’s probably one of the most useful lists I’ve ever seen…thanks!

Very useful…simply superb. Will be handy for me when I sit down to write next time.

A mullion trillion thanks for this incredibly useful page of “show” instead of telling. Thank you xx

I would have liked to pin this on pint rest 🙁

This is the best of the “show” lists I have either made or found. Superb.

Love, love, love these! Thanks for compiling them. I’m going to share them and put them in a file to resource. Michelle Random Writing Rants

This is very useful.

Its really helpful….

great post really!!! thanks for sharing

This is one of the most helpful writer’s guide posts I have ever seen. It is so hard not to write “He looked at her in awe”, but think about the specific body language in that situation. It also helps think about the traits a character can have… Every person is different so one can even put individuality into the writing by giving certain characters characteristic emotional expressions.

Thank you so much for sharing this!!

Thank you, Kimberley.

I know I’ll be referring back to this list often. Thank you so much for sharing.

Thank you, Melissa.

Perhaps this is the best way to hone up the writing skills of one’s own and I should be very thankful to you for helping the writers through this .

This is dangerous if astute advice. Anything that aids progress writing is useful, but anything that aids progress stops you thinking – and it is only by thinking that he universe opens a portal and pours out something original.

Great information not only for writing but observation of these behaviors in action. As a school counselor I am interested in non-verbal cues from others.

Great work! high degree of observation! really impressed.

This is great. There is one word that comes up SO OFTEN that it is distracting to me as a reader and that is “gaze.” People are gazing at things, at each other, they’re gazing all over the place. One time I counted the number of times “gaze” was used in a book and found an instance of 5 times in 4 consecutive pages. But another book used “gaze” 5 times in 4 consecutive PARAGRAPHS. Why the editors don’t catch this is beyond me. My favorite “gaze” quote from a book is, “Her brown gaze settled upon the distant mountains.” That didn’t make me think of her brown eyes. My first thought was that she was seeing smog! Is it strange to say a color with “gaze”? I’ve also seen something like, “His blue gaze swung up.” (the man was driving at the time) It sounds strange to me, but maybe that’s just me. The book with the distant mountains sentence used “gaze” heavily from the second page all the way to the second to the last paragraph! It was painful to read. I got rid of the book.

Very helpful to have this all in one place! Thanks!!!

Thank you! This is great! 🙂

Thank you for this post. It’s very helpful.

This is a good list. But I believe we can always be a little more creative in mixing them up to denote various degrees and subtleties in an emotion.

Yes, Ayan. As it says in the post: ‘Obviously, a character may exhibit a number of these behaviours. For example, he may be shocked and angry, or shocked and happy. Use these combinations as needed.’

These cheat sheets are worth their weight in gold! Thank you for taking the time to put them together.

AWESOME! I was just speaking with a friend who mentioned I needed to do this a little more. Thank you so much.

such an amazingly helpful post! Thank you!

Thank you. We’re glad you find this useful.

Melody, Would have ditched that book too. That’s just bad writing.

Please send me any further articles you put out. This one is very helpful. It makes us aware of the use of each movement as a symbol of inner thought. Thanks

This is the most helpful article I have read about telling vs. Showing. Thank you.

Thank you, Wendy.

Thanks for this really usefull I find that I use the same emotions over and over.

Thank you! This is an excellent reference for a desirable result.

“Excellent list,” she said, rubbing her hands together and grinning. ; ) Thank you!

Thank you, Melissa! I love it!!

Excellent!!

I read this very useful and generous article on stumbleupon.com Thank you for sharing your knowledge with me!

Thank you for the positive feedback. I’m pleased that this helps.

Thank you for this :))

Thanks for the helpful post! Great resource for the scripts I’m co-writing.

Simply superb compilation ! No more adjectives.

Thank you! We’re glad that you find these lists helpful.

Very useful! Thank you so much!

What a succinct and useful list!

“Unfortunately,” (pause, lips pursed indicating deliberation and thought) “these are almost” (stress on final word, downward tilt of the head with slight inclination to the left as the speaker maintains gaze on listener indicating mock-serious intent) “entirely” (extra stress on this word, head lifts and turns full-on indicating intent) “cliché” (jaw firms, slight downward shift of the brow, eyes narrow indicating mild annoyance.) “Sorry” (head lifts, jaw pushes out, eyebrows raised indicating belligerence and complete lack of genuine apology).

quite informative, and precise. thanks.

i’m highly grateful to you, thanks a lot n million, may god bless you a long and happy life

This is so useful! Thank you, thank you very much!

OMG! I impressed to read it. Really, you are doing good job.

Very informative thanks!

I need something different for pleading. and it’s not on the list. Why is the emotion I want not almost never on the lists? xP (Arg)

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