creative writing description eyes

How to Describe Eyes in Writing (21 Best Tips + Examples)

Eyes are often hailed as the “windows to the soul,” capable of conveying complex emotions without uttering a single word.

As writers, mastering the art of describing eyes can elevate your storytelling.

Here is how to describe eyes in writing:

Describe eyes in writing by focusing on color, shape, and emotional depth. Use descriptive words like “captivating” or “luminous.” Phrases like “windows to the soul” add layers. Consider eyelids, lashes, and blinking for subtle emotional cues.

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

1. The Color Palette: More Than Just Blue and Brown

Table of Contents

Color is usually the first attribute that comes to mind when describing eyes.

Going beyond the cliché blue and brown can bring your characters to life in vivid detail.

Try unconventional colors and make comparisons to set a mood.

For example, instead of saying, “She had green eyes,” you might say, “Her eyes were the color of freshly mown grass, evoking an undeniable feeling of rebirth.”

Different colors can invoke various emotions or suggest specific character traits.

“Eyes as gray as a stormy sea” could symbolize a tumultuous spirit or an adventurous soul.

Therefore, use colors not just as factual descriptions but as emotional or character-driven statements.

You can even mix colors for added depth, “His eyes were a mix of gold and brown, like a forest floor dappled in autumn sunlight.”

2. The Light Dance: Luminosity Unveiled

The way eyes catch light can describe more than just the setting sun or dim room.

It can tell your reader about the emotional landscape of your characters.

For example, eyes that “gleam like polished stones catching the midday sun” could portray a character in a state of clarity or revelation.

The luminosity of the eyes can also serve as a narrative device, enhancing the emotional undercurrents of a scene.

“Her eyes dimmed, mirroring the dwindling campfire, as she heard the sad tale” can infuse additional layers of emotion into the situation.

This can help the reader feel the gravity of the story along with the character.

3. Shape-Shifting: The Geometry of Gaze

The shape of a character’s eyes can be a playground for creativity.

From almond-shaped to round, the geometry of eyes can offer readers clues about a character’s disposition.

For instance, “Her oval eyes always had a dreamy look, as if she were perpetually lost in thought” can say a lot about the character’s daydreaming nature or thoughtful demeanor.

Don’t forget that eye shape can be dynamic, changing with emotional states or circumstances.

You might describe a normally cheerful character as having “eyes that narrowed into cold slivers when he heard the disparaging comment.”

This not only gives your characters depth but also builds a stronger emotional connection with the reader.

4. Blink Back the Emotions

Never underestimate the power of a blink in conveying emotional subtlety.

A quick blink can express surprise.

While slow, measured blinks could imply a character is deeply contemplating a decision.

For example, “She blinked rapidly, as if trying to ward off the tears that threatened to spill,” succinctly captures a moment of emotional vulnerability.

A single blink can also serve as a pivotal moment in the story.

“He blinked once, slowly, as if imprinting the scene onto his soul” not only adds emotional weight but also signals a significant moment.

5. Mirrors and Windows: Emotional Portals

Eyes can act as mirrors reflecting internal emotions or windows offering a glimpse into the soul.

A character’s gaze can speak volumes, revealing underlying feelings or thoughts.

“His eyes were impenetrable mirrors, reflecting nothing but deflecting everything,” suggests a stoic or guarded individual.

In contrast, eyes can serve as open windows, giving readers insight into a character’s emotional state.

“Her eyes were open windows to her joy, sparkling like stars on a clear night,” indirectly reveals the depth of her happiness.

Using this technique can convey complex emotions in a show-don’t-tell fashion.

6. Crinkles and Lines: The Etchings of Experience

The skin surrounding the eyes can be a treasure trove of storytelling.

Whether it’s laugh lines or weary creases, these “etchings” can reveal a character’s history or emotional state.

For example, “Her eyes were framed by lines that spoke of decades filled with laughter and resilience” provides a wealth of information about a character’s life experiences.

On the flip side, you can use the absence of these lines to highlight a different set of experiences or qualities.

“His eyes were alarmingly smooth, devoid of the wrinkles that often accompany age, as if time itself hesitated to mark him.”

This could signify a range of possibilities—from a sheltered life to a mysterious, age-defying character.

7. The Focus Factor: Where the Gaze Lands

Where a character focuses their eyes can indicate interest, discomfort, or even deceit.

“She couldn’t maintain eye contact and her gaze kept drifting to the floor,” could suggest a lack of confidence or that she’s hiding something.

Here’s another example: “His eyes locked onto the painting, absorbing every brushstroke as if trying to capture its essence.”

The focus of the gaze is telling of the character’s artistic interest.

Or perhaps a deeper emotional connection to the artwork.

Employ focus intentionally to add another layer of complexity to your characters.

8. The Invisible Force: Magnetic Attraction or Repulsion

Sometimes eyes don’t just look; they draw in or push away.

Describing this invisible force can add an ethereal quality to your characters.

“Her eyes seemed to pull him in, a gravitational force he couldn’t resist,” not only describes attraction but also gives it a nearly magical, irresistible quality.

Alternatively, eyes can repel, emitting an almost palpable energy that keeps people at bay.

“People avoided looking into his eyes, as if a simple glance could cast a dark shadow over their day.”

This can set the mood quickly and establish a character as menacing or tragically solitary.

9. Eye-talk: Silent Conversations

Eyes can often communicate messages that words fail to capture.

Describing these “silent conversations” can create emotionally charged scenes between characters.

For instance, “Their eyes met, and in that brief moment, a flurry of unspoken apologies and forgiveness exchanged.”

In a more humorous scenario, you might write, “A roll of her eyes spoke louder than words, a whole paragraph on why the joke was painfully unfunny.”

Use eye-talk to demonstrate the depth of understanding or the lack thereof between characters.

By doing so, you enrichen the personal dynamics in your story.

10. Motion and Emotion: The Kinetics of Eye Movement

The movement of eyes—darting, sweeping, flicking—can indicate a variety of emotions or thoughts.

“Her eyes darted around the room, like a hummingbird seeking nectar, but finding none,” could indicate anxiety or a feeling trapped.

Movement can also be slow and calculated: “His eyes slowly scanned the crowd until they landed on her. It was as though he had found what he was unconsciously searching for all evening.”

Here, the eyes act almost like a compass, guided by emotion or instinct to find a person in a crowd.

11. Veils and Shields: The Role of Eyelids and Lashes

Eyelids and eyelashes do more than just frame the eyes.

They act as veils or shields, expressing vulnerability or defense.

For example, “Her eyelashes were a curtain that she dropped quickly, hiding the turmoil that had briefly flickered in her eyes,” could indicate a momentary lapse in an otherwise strong facade.

On the other hand, “His eyelids lifted slowly, as if reluctantly allowing access to the secrets hidden in his gaze,” paints a vivid image of a guarded individual.

With eyelids acting as gatekeepers and eyelashes as intricate curtains, your description gains a theatrical quality.

12. Icy Stares and Fiery Glances: Temperature Imagery

Using temperature as imagery can add another layer of emotional context.

“Her gaze was icy, freezing everyone it touched, making even a crowded room feel lonely,” effectively conveys detachment and emotional coldness.

Alternatively, “His eyes burned with a fire that could ignite even the most dampened spirits,” suggests passion.

By assigning a “temperature” to your characters’ eyes, you’re doing more than describing.

You’re setting the emotional climate of your story.

13. Twin Moons: Symmetry and Asymmetry

Our eyes are often assumed to be symmetrical.

But describing a character with slightly asymmetrical eyes can add an interesting twist.

“Her right eye was noticeably larger than her left, as if it had seen more of the world and expanded with wisdom,” can introduce an element of uniqueness and intrigue.

Conversely, perfect symmetry can be used to highlight otherworldly beauty or artificiality.

“His eyes were symmetrically perfect, each a mirror image of the other, making him appear almost too flawless, like a sculpture.”

14. Distance and Depth: Proximity of Emotional Connection

The physical space between eyes can symbolize emotional distance or closeness.

“Her closely set eyes, like parallel lines that never meet, made it hard to decipher her emotions,” suggests a character who might be emotionally inaccessible.

On the flip side, consider: “His wide-set eyes seemed to embrace the world, absorbing its myriad colors and nuances.”

This description could indicate a more open, emotionally available individual.

The space between eyes can become a metaphorical playground for writers.

15. Transient Hues: Changing Colors

Some eyes change colors depending on the lighting or the character’s mood.

Describing this can add a mystical or unpredictable quality.

“Her eyes shifted from a deep blue to an oceanic green when she was lost in thought,” opens up a realm of questions and adds an element of unpredictability to the character.

Or you might write, “As he grew angrier, the brown of his eyes seemed to darken, like clouds gathering before a storm.”

Changing colors can make your character seem complex and intriguing, demanding the reader’s attention.

16. Windows or Walls: Transparency and Opacity

The eyes can be either transparent windows to the soul or impenetrable walls.

For example, “Looking into her eyes was like staring into a clear pond, where even the smallest pebble on the bottom was visible,” indicates transparency and vulnerability.

Contrastingly, “His eyes were like tinted windows—no matter how hard you looked, you couldn’t see inside.”

The latter communicates a sense of emotional fortification.

Transparency and opacity serve as tools to indicate how approachable or aloof a character is as a person.

17. Spotlighting: Single Eye Focus

Most descriptions involve both eyes, but focusing on just one can create an arresting image.

“Her left eye seemed to flicker with an inner light, commanding attention and distracting from her otherwise placid face,” can indicate a multifaceted character with hidden depths or asymmetrical qualities.

Or perhaps, “His right eye twitched involuntarily, belying the calm he otherwise projected.”

A focus on a single eye can serve to amplify emotion, make a character more memorable, or highlight an incongruity in their personality.

18. Eye Accessories: Glasses and Contacts

Glasses or contact lenses can be more than just functional.

They can offer insights into a character.

“Her thick glasses magnified her eyes to an impossible size, giving her an air of constant astonishment,” shows how glasses can be used to amplify a character trait.

Accessories become an extension of the character, revealing their choices, desires, or insecurities.

19. A Picture Is Worth a Thousand Words: Artistic Imagery

Sometimes, describing eyes as artworks can be exceptionally evocative.

“Her eyes were like a Jackson Pollock painting, a chaotic blend of colors that somehow made sense,” can indicate a complex and unpredictable character.

Or perhaps, “His eyes resembled a Van Gogh sky, swirling with depth and endless hues of blue and yellow.”

Artistic comparisons not only make the description more vivid.

But can also provide an intellectual backdrop to your character’s emotional landscape.

20. The Art of Avoidance: When Eyes Are Hidden

There can be significant impact in moments where a character’s eyes are hidden—by hair, a hat, or even their own hand.

“His eyes were obscured by a mess of unruly hair, as if he was deliberately hiding from the world,” can suggest a character who is emotionally unavailable or in a state of internal chaos.

Conversely, “She covered her eyes with a hand, as if blocking out the reality before her,” could indicate denial.

Or, perhaps, a reluctance to face the truth.

The absence or obstruction of eyes can speak volumes, adding a layer of complexity to the narrative.

21. The Blink Code: The Tempo of Eye Movement

The rhythm and tempo of blinking can subtly express a character’s emotional state or intentions.

Rapid blinking might reveal nervousness, excitement, or distress.

Slow, deliberate blinks could convey thoughtfulness or calm.

The blink can be as revealing as any other aspect of eye description, acting as a silent Morse code that conveys underlying emotional states.

For example, “Her eyelids shut tightly and reopened slowly, as though she was steeling herself for what was to come. Each blink seemed to be a word in a private language of courage.”

Here is a good video about how to describe eyes in writing:

10 Elements of Eyes to Describe in Writing

To summarize, here are 10 elements (or traits) of eyes that you can describe:

• Color : The most obvious characteristic, but it can say a lot about a character. Blues, browns, greens, and grays each have their own set of associated traits and emotions.
• Shape : The shape of the eyes can lend personality cues. Almond-shaped, round, or narrow eyes can make a character seem mysterious, innocent, or intense.
• Size : Describing the size of the eyes can also give hints about a character’s personality. Large eyes might convey innocence or openness, while small eyes could suggest cunning or secrecy.
• Luminosity/Brightness : How bright or dull the eyes appear can reflect the character’s emotional state or overall personality. Luminous eyes might signify vitality or a strong spirit.
• Transparency : This refers to how “readable” the eyes are. Are they the proverbial “window to the soul,” or are they more like impenetrable walls?
• Intensity : The power of a gaze can say a lot. An intense stare may show determination, while a lack of intensity could signal disinterest or fatigue.
• Texture : While not immediately visible from a distance, up close the eyes may have specks, flecks, or distinct patterns that could add uniqueness to a character.
• Direction : Where a character is looking—averting their gaze, staring straight ahead, or looking down—can show their emotional state and add context to dialogue and actions.
• Movement : This includes blinking, winking, or any other eye movements. Rapid blinking might indicate stress, while slow blinking could indicate thoughtfulness or calm.
• Surrounding Features : Eyebrows, eyelashes, and even the skin around the eyes can contribute to the overall impression. Bushy eyebrows, long lashes, or dark circles can add depth to your description.

30 Best Words to Describe Eyes in Writing

Here is a list of words to help you describe eyes in your stories:

• Melancholic
• Almond-shaped
• Calculating

30 Best Phrases to Describe Eyes in Writing

When a single word won’t do, you’ll need phrases for describing eyes.

Check out this curated list of phrases for how to describe eyes in writing:

• Eyes like saucers
• Windows to the soul
• A storm brewing in his eyes
• Eyes bright with unshed tears
• A twinkle in her eye
• Eyes darker than midnight
• Eyes that held galaxies
• Deep pools of emotion
• Eyes like open books
• Eyes narrowed in suspicion
• Eyes as cold as ice
• An unreadable gaze
• Pools of molten gold
• A piercing gaze
• Eyes dancing with mischief
• Eyes filled with wonder
• A guarded look
• Eyes aflame with passion
• A faraway look
• An inviting gaze
• Eyes shimmering like the ocean
• A gaze that could cut glass
• Eyes soft with compassion
• A lingering look
• A flirtatious glance
• Eyes clouded with doubt
• Eyes gleaming with intelligence
• An intense stare
• Eyes that defy description
• Eyes closed in contemplation

3 Full Examples of Describing Eyes in Different Genres

Let’s learn how to describe eyes in writing by looking at full examples in various fiction genres.

In the dimly lit room, his eyes caught hers, and it felt as though time stood still.

They were deep pools of chocolate, rich and warm, promising sweet secrets and hidden depths. A soft light seemed to emanate from them, casting a gentle glow that could melt the iciest of hearts. It was as though his soul was laid bare, and she felt herself drawn into his gaze, an irresistible force pulling her closer to the love she’d been seeking all her life.

As she walked through the enchanted forest, her eyes changed to mirror her surroundings.

Normally a plain brown, they turned into a swirling mix of emerald and gold, as if her irises were tiny galaxies with stars twinkling within. The transformation was spellbinding, making her appear not just of this realm, but a creature of otherworldly beauty.

Those eyes held power—power to unlock realms and unleash spells, a mysterious allure that could not be ignored.

His eyes were like shards of ice, a piercing blue that seemed to cut through the dim light of the interrogation room.

Each glance was calculated, devoid of emotion, revealing nothing yet seeing everything. It was a look that had unnerved many—a gaze that had stared down threats and seen horrors that would break most men.

His eyes were the epitome of a human lie detector, missing nothing, ever vigilant, and deeply unsettling.

Final Thoughts: How To Describe Eyes in Writing

The best way to describe eyes is blending the tips, words, and phrases.

Also, connect the bigger plot and theme to your eye descriptions.

Of course, there is much more than eyes to describe in your story. Read the other guides on our site to learn how to describe, people, places, and scenes in your story.

Read This Next:

• How to Describe a Greedy Person in Writing (21 Best Tips)
• How to Describe Nervousness in Writing (23 Tips + Examples)
• How to Describe a Hug in Writing (21 Best Tips + Examples)
• How to Describe a Smile in Writing (700 Ways & Examples)

65 Ways to Describe Sight and Eyes in Your Writing

Ever since William Shakespeare said:

“The Eyes are the window to your soul”

… people have been trying to decode ever glitter, wrinkle, squint, and gaze that passes from those orbs. When I read a description that catches my attention, I copy it down, using it later to remind me there’s more to a character’s eyes than ‘she looked’ or ‘his blue eyes’.

Here’s my list of 65 (and growing):

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

• Eyed me as though his bullshit meter was ticking in the red zone.
• He blinked as his eyes adjusted.
• an alertness in the eyes, behind the glasses that sat crookedly on the nose
• Cold gaze fixed on the anxious young man
• Cast a skeptical eye
• Sure, we know that, said Herrera, taking off his glasses to inspect the lenses.
• Gaffan saw Marley’s eyes open wide in surprise and recognition.
• Eyes bleary from surveillance and the two-hour drive
• Vision narrowed to a pinprick
• Eyes clouded
• eyes locked on like magnets
• four pairs of eyes blinked in unison
• studied her with a predator’s unwavering attention
• blinked a couple of times

• eyes narrowed to slits
• Narrowed his eyes
• eyes locked in a shared understanding
• yellow rimmed eyes narrowing
• peer sightlessly at a wall
• eyes turned inward
• shook her head and stared at the pool
• Staring sightlessly into the darkness
• Stared off into the crowd but didn’t seem to see anything
• Stared into the distance
• Fixed expression
• Looked at a place somewhere over his shoulder
• focused on an empty space in the air between them
• eyes narrowed, she got a vertical wrinkle between her eyebrows. Her lips pursed slightly.
• Their eyes met, but he broke it off
• meaningful eye contact
• studied Hood with her level gaze
• risked a peek
• she screwed her eyes shut
• stared brazenly into her eyes
• opened her eyes wide
• dark eyes radiated a fierce, uncompromising intelligence
• rubbed raw eyes
• eyes felt scratchy and I was jittery with coffee and raw from sleeplessness.
• His eyes flickered past me.
• His eyes were never still and he never looked at me except in passing
• Caught her peeking at Hawk sideways out of a narrow corner of her right eye.
• Watching the bystanders from the edge of his vision
• Looked him over with the respect men who have not served give those who have

• Ferret-like eyes
• Dark eyes smoldering
• Lined from squinting into too many suns
• Eyes were dark pools of fear
• looked like hell—purple bags under her eyes,
• eyes carried a mixture of shock and barely contained anger
• bright eyes of an optimist
• one eye clouded with a cataract
• wounded eyes
• his body felt heavy
• eyes were dark, cupped by fleshy pouches
• wire-rimmed glasses
• Slate-blue eyes
• Dark solemn eyes
• Spark in his grey eyes
• Steely-eyed
• Huge blue eyes that gave her a startled look
• black circles beneath her eyes had become bruises
• Wide-spread aquamarine eyes
• brown eyes wearing reading glasses
• Piercing stare
• Close set black eyes
• Watery blue eyes
• Memorable only for his bleak eyes
• Nets of wrinkles at the corners of her eyes
• Eyes flat as little pebbles
• Steely eyed
• long eyelashes
• laughing eyes
• predatory eyes
• Eyes were red-rimmed from allergies
• Under heavy lids; heavy-lidded
• Sensitive brown eyes
• Eyes sunk into his sockets
• Competitive, fixed, dead-eyed, and querulous stare of people who weren’t getting far enough fast enough
• I’ve-seen-it-all eyes
• bedroom eyes, dark hair falling into them
• Crows feet radiated from corners of eyes
• the light fades from his eyes until they are dark and empty
• eyes were brown in the middle and bloodshot everywhere else
• stared through him
• Looked left and right before starting
• Pingponging his gaze between A and B
• His glance, as conspiratorial as a wink
•  eyes watched her the way a tiger watched a bunny
• Shadow passed over his eyes
• Flicker in his eyes
• Said without looking at him
• looked for a common theme, a thread of some sort
• She frowned–couldn’t recall the incident
• Heard little and cared less
• Hovering over her shoulder
• His eyes flattened
• His face hardened in concentration
• Thinking about my conversation with the old detective
• shot a look over the top of his glasses
• Squinted at the sun
• Arched an eye brow
• Looked at me with a strangled expression
• Bushy eyebrows
• eyebrows of white steel wool
• a single bushy bar above the eyes

More descriptors for writing:

Lots of them

48 Collections to Infuse Your Writing

What is a ‘Hacker’

Copyright ©2022 worddreams.wordpress.com – All rights reserved.

Jacqui Murray  is the author of the popular prehistoric fiction saga,  Man vs. Nature  which explores seminal events in man’s evolution one trilogy at a time. She is also the author of the  Rowe-Delamagente thrillers  and  Building a Midshipman , the story of her daughter’s journey from high school to United States Naval Academy .  Her non-fiction includes over a hundred books on integrating tech into education, reviews as an  Amazon Vine Voice ,  a columnist for  NEA Today , and a freelance journalist on tech ed topics. Look for her next prehistoric fiction,  Savage Land,  Winter 2024 .

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150 thoughts on “ 65 Ways to Describe Sight and Eyes in Your Writing ”

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Pingback: 65 Ways to Describe Sight and Eyes in Your Writing – Nicole_6

So interesting!

Like Liked by 1 person

Thank you! It’s easy to fall into the traditional color/size/that sort, but there is so much more to eyes than that. Which–of course–you understand, with your interest in music.

Thank you again for this wonderful reply 💝

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There is no copyright on most if not all of these. You may have copied them from a particular manuscript but the phrases themselves have been used thousands of times…”arched an eyebrow” , “Cast a skeptical eye” – c’mon…look at these phrases…they are all quite generic.

You are right–just an abundance of caution. Thanks, Vicki.

I think they’re pretty neat, Jacqui.

I absolutely love this list. Thank you so much. I’m always searching for lists. One of my favorite lists is finding words to use instead of said.

Glad you found it helpful!

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Jacqui, Can’t comment on just one post — I find something helpful in your posts on matter the subject. For now, the “eyes” have it. Thanks, also on commenting on my posts and for your regular blurbs. Mask up and enjoy the holidays.

I have quite a collection of masks these days! Thanks for the greetings, Nancy!

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Thanks for visiting.

Hi Jacqui, I just got your last book from Amazon and I started to read it. When the Thames is finished I will write about it, as promised. Joanna

Thank you, Joanna! I’d love that. But don’t rush. Your series on rivers is fascinating.

Very useful to many budding writers. Thank you, Jacqui, for your comments about the posts on my blog naturetails.blog I am back home from the hospital but still not very well. Nothing serious. Joanna

I’m so sorry to hear that, Gaby. It’s awful to be sick, especially now.

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Love this! Very helpful.

Thanks! Glad this was helpful.

Wow thanks!! These are worth remembering – or at least remembering where they are.

Pretty amazing how many ways there are to discuss ‘see’!

Reblogged this on Home – SFH and commented: This is such a good list for anyone need good sight words!

Thanks for sharing!

wow amazing list , Thank you for compiling it very useful to me !

I am so amazed by the creativity of writers. These really caught my attention.

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I will look at this list when I’m writing 🤔 my eyes would read. She looked through her red itchy eyes and decided he was a hunk. But what could she do about it at 61 and wrinkled skin. Go to Walmart for Gold Bond!

Like Liked by 2 people

Hehee. You and me both!

I think you are amazing with the wealth of words you provide.

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Just found this – these are great! My eyes are wide with admiration….

I see what you did there!

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Hi Jacqui, Thank you for liking my poem, I love writing poetry…and playing around with words::my passion! Add people and I’m made up! I enjoyed your lists and ideas; thank you.. To think there are only 26 letters in the English language. Isn’t it amazing what us writers do with them. Magic! Best wishes. xx

Well, Nature has us beat. Only 4 bases for DNA and look at all the variation. Yikes!

Thanks goes to you for promoting my work as a powerful Psychic spiritual healer in usa and for liking my blogs, let me live my number here +27634299958 whatsapp. THANKS

Like Liked by 3 people

Thanks for visiting me, too!

Love this! Thanks for taking time away from your writing to visit my blog!

Fun visit, Lily. I’m new to #authorstoolboxbloghop and am enjoying all the new writers I’m meeting!

I’m looking for some advice. I want to describe the look someone gives another person when the former is deliberately feigning interest in a way meant to convey mockery and contempt. I’ll try to give a brief example.

Person A says something person B finds ridiculous or uninteresting.

Person B, being a jerk, makes a sarcastic remark to the effect of “wow, how fascinating!” while giving person A a look that matches her attitude.

It’s all about body language…and the fact that it’s nearly 6 am and I am struggling to be descriptive! Thanks for your help.

Snide? Or dismissive? Or like you just stepped in a cow turd?

Hmm… Let’s see what anyone else has to offer!

some great ideas in this list Jacqui to stimulate the imagination. also, a good reminder about copyright 🙂

I’m pretty paranoid about copyrights. I’m perfectly happy paying for images rather than worrying they’re in the public domain.

exactly. i bought 5 images recently from shuttlestock. not very expensive.

Also technically you can’t copywriter a phrase you didn’t make up. “Narrowed his eyes” is on this list and I’m sure that’s been used thousands of times in manuscripts for many, many years. Copying a whole paragraph that a phrase is imbedded in is wrong, but using common phrases in your writing but putting it in your own context is not violating a copyright.

You’re absolutely right. Good to point this out!

“Eyed me as though his bullshit meter was ticking in the red zone.”. Awesome.

I’ve felt that way myself at times!

Seriously, this is a great list!

Great examples. You had me at the first one.

Yeah, I like that one too. It evokes some good mental images.

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This is excellent! Thanks.

Thanks! They are all quite authentic.

Thank you Jacqui! it was helpful..

I love hearing that, Vijaya.

This is a thorough and useful list, Jacqui. Thank you. 🙂 — Suzanne

I get a lot of inspiration from this one. Thanks, Patricia.

I love posts like this, Jacqui. They make me reach beyond the self-imposed limits of my little grey cells 🙂

Every time I prepare to write “he squinted” or “his ferret eyes”, I check this list. I can do so much more with eyes!

I’ve bookmarked it and will be using in the future 🙂

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Brilliant Jacqui thank you. The eyes are such a crucial element in connection with someone. Eyes meeting across a crowded room has been the start of many a wonderful romance…..

Thanks so much for sharing this post on your blog, Sally. It’s been fun hearing the feedback.

Pleasure Jacqui. x

Reblogged this on Viv Drewa – The Owl Lady .

Thanks for the reblog!

Reblogged this on Chris The Story Reading Ape's Blog .

Thanks for the reblog, Chris!

Welcome, Jacqui – great info 😃

It’s in august company on your blog.

THANK YOU, Jacqui ❤️

Reblogged this on Plaisted Publishing House and commented: Awesome writing tips for Sight and Eyes 🙂

Fantastic list, thank you!

My pleasure.

Excellent, Jacqui. Thanks for sharing.

These definitely inspire me when I get stuck. Thanks for visiting.

Haha! Love the 1st one, I have to use that on my hubby. LOLz

Oh yeah. I use it a lot on mine!

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Awesome write-up. I wonder if a person used some of these phrases in their own book or novel would it be considered plagiarism? I posted earlier but I wrote the wrong address.

It could be–and some of them are so outstanding, genre readers would recognize them for where they came from. Not worth the risk!

thanks for your response. But I think it depends. As I look over some of the words in sight, I already have them in my book and chances are some of the phrases are in other books. Phrases like “Eyes turned inwards”, “Looked him over”, “Blinks several times”, “Squinted into the crowd.” In my novel I used, “His eyes darted back and forth.” coming to find out that the phrase is used in over 15 other novels that I found and I am sure there are more. I’m sure there are probably other phrases that I use in some of these books as well. Can I call it plagiarism if I see phrases I used in my book?

I guess it depends on the complexity of the sentence.

You are right–those types of general phrasing is pretty much public domain. Good to point that out!

Thank you! This is perfect for when I’m sitting there thinking, ‘how should I say?’ which causes me to stop and think too long and uh-oh I wind up in the writer’s block zone!

Thanks exactly what it does for me, too. Inspiration.

Well, isn’t that thorough. i love the first one about the bullshit meter.

We’re so far beyond ‘beady eyes’ aren’t we?

This is so much help. Thank you.

My pleasure!

Wow, so many ways to describe and possibly we still have even more things the eyes express. Magical are the eyes, small organs with great power. Thanks miriam

That is true. I think that veil with just the eyes showing is a perfect example.

Reblogged this on lampmagician .

Thank you so much for sharing. Sometimes my thoughts gets stuck and I need something to give it a kick start. 🙂

That is exactly what these lists are for. Sometimes, I just read the dictionary, find great words that evoke an image that leads to a plot point. I love writing.

If only I had a photographic memory … as long as I didn’t have to sacrifice my busy, sometimes all over the place, creative mind. 😳

This was such a help. Thanks for sharing!

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Thank you so much! These will definitely help me in my writing!

Great writer tips. Thanks for your recent visit to my blog.

These are fun, aren’t they?

This has helped me so much! I always get stuck describing how characters ‘look’ at certain things. Thank you!

It’s amazing how many ways you can say the same thing. Glad you like these.

it was of great help for me.. beautifully expressed…

Thanks! And, I’m sure the cute dog doesn’t hurt it’s read-me value.

no it didn’t… rather its my favorite breed so its just an add on cuteness & more expressive 🙂

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Awesome list!! Thanks for sharing 😀

and a free cute dog picture–what could be better!

Excellent… Being language my second language you have no idea how this post helps me, dear Jacqui… Best wishes! Aquileana ⭐

I bet many of them seem quite odd to you. I’m highly impressed with your writing skills.

Exactly!… But I am learning with your post!… Oh and thank you, Jacqui!… I’d humbly say that I feel I have made considerable improvements! … Best wishes! Aquileana 😀

Reblogged this on quirkywritingcorner and commented: Can someone explain the copywrite law when it comes to using common phrases? I’ve used quite a few of these in my writing and even my nurse’s notes. I did not think using a common phrase would be considered infringement.

My old eyes can’t ‘see’ as much as your young ones and writing brain can Jacqui. You’ve given me so much great tips over the last couple of years, I wish I knew long time ago. These are the ones came at a critical juncture of my [nonsensical?] book. Thanks for your help Jaqui. Arun from over the pond.

I see your eyes laughing! Ah, you are the master of subtle humor, Arun.

You know, I’m always scratching my head and pulling at my hair trying to think of others ways to say “looked”. These will help. Thanks.

And ‘saw’. These aren’t like changing the tag, ‘he said’. They aren’t supposed to be invisible. Gee, it gets hard sometimes.

These are great. Eyes are so expressive and are a must to mention when writing.

They are. Shoulders, feet–they can be ignored, but not what’s communicated with eyes.

With this post Jacqui “The ayes have it”! You are such a great resource, thank you.

Fabulous as always, Jacqui. Thanks so much. Something to chew on. ❤

Chomp chomp!

Great post. I was reminded tonight how important expressive eyes are while watching the Voice.

Since so much of communication is the body, it makes sense we should be aware of what’s being said.

Thanks, Jacqui. This should prove very helpful.

So much more expressive, aren’t they?

Great tips! Thank you so much for sharing! Have a lovely week 🙂

Lots of ways to say, ‘he saw’, aren’t there?

Yes, quite! Thank you. Very useful tips 🙂

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How to describe eyes in a story: 7 simple tips

Learning how to describe eyes in a story without resorting to cliché helps set your writing apart from amateurish fiction. Many beginning authors over-rely on eye descriptions and eye color to create an impression of their characters. Here are 7 tips for talking about your characters’ eyes creatively:

• Post author By Bridget McNulty
• 16 Comments on How to describe eyes in a story: 7 simple tips

Learning how to describe eyes in a story without resorting to cliché helps set your writing apart from amateurish fiction. Describing eyes is a handy literary tool to show your character’s complex emotions. Many beginning authors over-rely on eye descriptions and eye color to create an impression of their characters. Here are 7 tips for to describe eyes in writing

How to write better eye descriptions:

• Avoid fixating on eye color.
• Make characters’ eyes contrasting or incongruous
• Use eye appearance or description, eg eye shape, to support story development
• Describe the eye area rather than just eye color
• Use eyes to communicate psychology
• Read examples of great eye descriptions from books
• Move beyond describing eyes in your story

Let’s unpack these ideas a little:

1. Avoid fixating on eye color

The color of a person’s eyes doesn’t tell us whether they are kind or cruel, an optimist or a pessimist. Often aspiring authors focus on the eyes more than anything else when describing characters. While this is a feature we notice (especially if a person has unusual, striking eyes), there are many other interesting facial features.

As an exercise, practice describing a character’s face . Describe their mouth, nose, brow, chin and ears. Find a simile or metaphor for each (e.g. ‘His mouth was a tight red knot.’)

One way to make eye description more interesting is to make characters’ eyes stand out in relation to character traits or other features:

2. Make characters’ eyes contrasting or incongruous

People’s appearances are often full of strange juxtapositions and contrasts. The man with the big, ruddy face might have small, delicate hands. One way to describe characters’ eyes effectively is to use them to create contrast. For example, a character who has a nervous temperament could have an intense, penetrating stare that one wouldn’t expect, given their nervous or avoidant behaviour. Or they might avoid eye contact altogether which can also be incongruous.

3. Use eye description to support story development

One reason descriptions of novel characters’ eyes sometimes reads as cliché is because authors describe eyes apropos of nothing. ‘She smiled and looked across at him with her emerald green eyes’ reads a little awkwardly because the character’s eye color is not particularly relevant. Drawing attention to it almost detracts from the key action here – the momentary connection between two characters.

However, you can use eye description effectively at key points of character development . For example, if a character witnesses a horrific scene, their eyes might seem vacant or otherwise haunted to passersby. In Dostoevsky’s Crime and Punishment , when the protagonist Raskolnikov comes to see an elderly pawnbroker at an unusual time, unarranged, Dostoevksy describes the pawnbroker’s eyes to reflect the changed conditions of their interaction and the woman’s awareness of this:

‘The door was as before opened a tiny crack, and again two sharp and suspicious eyes stared at him out of the darkness.’ ( Crime and Punishment , Chapter 7)

You could also use a character’s poor vision or a visual impairment as a plot point: perhaps because your character, the witness, has poor vision, it’s not clear if they were able to see the murderer properly. 

Use adjectives that describe how a character’s eyes look to support the tone and mood of a scene, drawing attention to story developments, as Dostoevsky does. Yet don’t over-rely on adjectives to create character impressions . Let actions and words speak too.

Master Character Description

Write better character description with the help of practical exercises and videos.

4. Describe the eye area rather than just eye color

To avoid clichéd eye descriptions, instead of describing color describe the eye area. For example, if there are bags or dark circles underneath a character’s eyes this conveys tiredness and/or anxiety. Eyes that are swollen, puffy or ringed with red indicate recent emotional distress. Narrowed eyes indicate hostility or suspicion. Half-closed eyes indicate drowsiness. Mischievous eyes can indicate a fun-loving person.

Describe the shape of the eye too: you could describe your character as having almond-shaped eyes, or hooded, or having a monolid (eyes that don’t have a crease), wrinkled, makeup smudged creating a panda-like effect. Eyes wide open could indicate innocence or naivety. Eyes aflame with passion conveys an entirely different range of emotions or state of being too. Take note of how eyes change in dim light, with the pupil growing big. You could just simply use a medical condition to describe eyes for example ptosis, which is an excessively droopy eyelid. 

When you get down to it, there are countless ways to describe eyes that show emotion and psychological state in addition to appearance. Make your eye descriptions do more work for your story.

5. Use eyes to communicate psychology

To follow on from the above point, think about how your eye descriptions create impressions about your characters’ temperaments and psychologies. For example, a character who blinks often might be a little nervous. On the other hand, a character who rolls her eyes often could be the cynical, ‘so over it right now’ teen. You could describe a compassionate person, let’s say a psychologist, as having warm brown eyes, for instance that look at other characters with interest and care. 

The important thing is not to overdo eye descriptions. If a character performs an eye movement such as rolling her eyes a few times it conveys her sarcastic nature. Yet if she does this every page, it can stale quickly. Use your discretion.

6. Read examples of great eye descriptions from books

It’s useful to keep a separate journal for character descriptions you love. That way, whenever you are trying to describe a character , you can page through effective descriptions and remind yourself what works.

Famous books are peppered with great eye descriptions. For example, in Crime and Punishment , Dostoevsky creates a suitably suspenseful and creepy tone when Raskolnikov’s family come to visit him at his lodgings and are watched suspiciously by the landlady as they enter:

‘[W]hen they reached the landlady’s door on the fourth storey, they noticed that her door was a tiny crack open and that two keen black eyes were watching them from the darkness within.’

The description is simple yet effective. The adjective ‘keen’ comes before the color ‘black’, as it should, being the more descriptive and informative of the two.

Although it’s not effective to simply describe eye color alone, many successful authors do describe eye color – even improbable colors as J.K. Rowling does when she describes the villain of Harry Potter , Lord Voldemort:

‘[His face was] whiter than a skull, with wide, livid scarlet eyes and a nose that was as flat as a snake’s with slits for nostrils’.

Rowling, like Dostoevsky, places the most important, emotion-conveying descriptor first. Even though Voldemort’s eyes are ‘scarlet’, a non-standard eye color, they are first described as ‘livid’, conveying immense anger appropriate to a villain.

7. Move beyond describing eyes in your story

To truly describe characters brilliantly, describe aspects of your character that are most relevant to a given scene. For example, if a character is fleeing the scene of a crime, their eye color is scarcely relevant here. But describing their body language (as they attempt to slip past passersby unnoticed) or breathing can heighten tension.

As important as it is to know how to describe eyes in a story without using cliché, it’s even more important to have rounded character description skills.

Join Now Novel to create detailed character sketches using our guided prompts. Get helpful feedback on your character descriptions from your online writing community.

Related Posts:

• How to describe clothing in a story (with examples)
• How do you describe a place? 6 setting tips
• How to create tension in a story: 8 simple steps
• Tags characterisation , describing characters , writing characters , writing tips

By Bridget McNulty

Bridget McNulty is a published author, content strategist, writer, editor and speaker. She is the co-founder of two non-profits: Sweet Life Diabetes Community, South Africa's largest online diabetes community, and the Diabetes Alliance, a coalition of all the organisations working in diabetes in South Africa. She is also the co-founder of Now Novel: an online novel-writing course where she coaches aspiring writers to start - and finish! - their novels. Bridget believes in the power of storytelling to create meaningful change.

16 replies on “How to describe eyes in a story: 7 simple tips”

Good advice on what it is the character is looking at. I have told my listeners to do something similar in the past. Always describe what it is that the character’s five senses are telling them. You don’t have to use all of them and the sense of sight is a powerful one.

Rick Dean/Poor Richard’s Bloganac

I agree. I think the idea of watching your metaphors is also a powerful one.

This is really nice!

Thanks James!

I also have a tip. I noticed that a lot of people overuse the color of peoples eyes. They talk about how ‘ocean blue they are’ and always somehow worm the color of there ‘dazzling eyes’ into the chapter, which can be annoying, and feel a little unrealistic. It’s okay for the character to recognize how strange or beautiful another character’s eyes are, but not if it is all the time. It gets old and makes the story a little boring when all you know about the other character is the color of there eyes.

Completely agree with this, Katherine. Many writers use this in the attempt to create a sense of intimacy but it can be very cliched.

This is, hands down, the best information I’ve found on this subject! Re-Blogging on http:www.rijanks.wordpress.com

Hi Jan – thank you so much, that’s very kind. Will share your re-blog.

I like the ideas in this blog post. They’re great.

Thanks, Linda! Thank you for reading.

I want to describe a person, that can manipulate water or bend it. ( in other words, I want to describe a person with water powers.) But I don’t know how to do it professionally and smoothly, since I am not aiming to write a little fairytale about a girl with magical powers, I am trying to make it descriptive and appropriately written out, which I am very much struggling to do. I am hoping you could help me out and give me suggestion, since your advice on how to describe this subject in writing really helped me, if any viewers can give me suggestion i would very, very much appreciate it to.

Hi Prasha, Happy New Year! Thank you for your question, it sounds an interesting character power. I would say try to focus on the exact, precise detail. For example, the visual qualities of the water (the droplets, the motion, the way it reflects the light), the way your character concentrates to manipulate it (or any specific words they say that are part of executing their power over water).

Precise and specific details that describe the exact phenomena taking place will help to put your reader in the scene – movement, colour, sound. This is more impactful than, for example, if you were to just write ‘She used her powers to summon water’ as this relies more on broad, abstract ideas.

Literally never in all my years of trying to write have I seen something that is not only so in-depth as far as THE HOW of describing character features, but also expressed in a way that is completely tangible and digestible. This is essentially THE post I’ve been looking for. Outstanding. Thank you so much. -Billy

Hi Billy, thank you! I’m glad you’re finding our articles helpful and that this answered what you were looking for. Thanks for reading our blog and taking time to leave feedback.

I have a character in a book I am writing and I want to know if this is ok. “She looked over At Annika with deep blue eyes that reflected power and magic. Some people even say she was almost killed for that when she was born” (magic is outlawed)

Hi Madelyn, thank you for sharing your extract from work in progress. There are good elements here. I would suggest finding phrases that tell (for example, ‘…that reflected power and magic…’) and replacing them with words that show more (what is it about her eyes specifically that ‘reflects power and magic’? Is it something eerie or unnatural/supernatural about their colour/shape/intensity/her stare?

Keep going and good luck!

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Writing Nestling

How To Describe Eyes In Writing (13 Steps You Need To Know)

In the realm of storytelling, the eyes are not just windows to the soul; they are portals to a character’s deepest emotions, hidden secrets, and unique essence.

Mastering the art of describing eyes in writing is akin to wielding a magic wand, allowing writers to paint vivid and evocative portraits that resonate with readers on a profound level.

From the sparkle of excitement to the shadow of sorrow, from the intensity of desire to the weight of wisdom, the eyes are a canvas upon which emotions and character intricacies are vividly rendered.

In this exploration of “How To Describe Eyes In Writing,” we embark on a journey to unlock the secrets of crafting eye descriptions that not only engage the senses but also breathe life into characters and narratives.

Join us as we delve into the nuances of eye descriptions, from anatomy and symbolism to techniques and ethical considerations, to enhance your storytelling prowess and captivate the hearts and minds of your readers.

Table of Contents

How To Describe Eyes In Writing

Describing eyes in writing can be a creative and detailed process. Here’s a step-by-step guide on how to do it:

Observe the Eyes

Take a moment to closely observe the eyes you want to describe. Pay attention to their color, shape, and any distinctive features such as freckles, scars, or unusual patterns.

Consider the Setting

Think about the context in which you are describing the eyes. Is it a romantic scene, a suspenseful moment, or a casual observation? The setting can influence the tone and depth of your description.

Start with Color

Begin your description by mentioning the color of the eyes. Use vivid and descriptive words to convey the shade. For example, “Her eyes were a deep, emerald green.”

Shape and Size

Describe the shape and size of the eyes. Are they round, almond-shaped, or something else? Mention if they are large, small, or average in size.

Expressions and Emotions

Consider the emotions or expressions conveyed by the eyes. Are they sparkling with joy, filled with tears, or clouded with sadness? Describe how the eyes reflect the character’s feelings.

Pupils and Iris

Mention the size of the pupils and the details of the iris. You can describe the pupils as dilated with desire or constricted in bright light. Highlight any unique features of the iris, such as flecks or a ring of a different color.

Eyebrows and Eyelashes

Don’t forget to mention the eyebrows and eyelashes. Are the eyelashes long and dark, framing the eyes beautifully? Are the eyebrows well-groomed or wild and expressive?

Eye Movements

Describe any eye movements that add depth to the character’s emotions. Mention if they blink rapidly, gaze intensely, or dart nervously around.

Comparisons and Metaphors

Use similes and metaphors to create vivid imagery. Compare the eyes to elements in nature or objects that convey a particular feeling. For example, “His eyes were as deep and mysterious as the night sky.”

Light and Shadows

Consider how lighting affects the appearance of the eyes. Describe how they catch the light, shimmer, or cast shadows. Lighting can enhance the atmosphere of your description.

History or Backstory

If relevant, provide some backstory or history related to the eyes. Have they seen hardship, witnessed important events, or undergone a transformation?

Overall Impression

Sum up your description with an overall impression. How do these eyes make the observer feel? What impact do they have on the character’s appearance and personality?

Editing and Polishing

Review your description for clarity and coherence. Make sure your choice of words enhances the reader’s visualization of the eyes and aligns with the tone of your story.

Remember that the goal is to engage the reader’s imagination and create a vivid mental image. Tailor your description to the character and the narrative to make the eyes an integral part of your storytelling.

Understanding the Basics

Understanding the Basics of describing eyes in writing is like peering through the keyhole into the soul of your characters. Just as the eye is the window to the soul, mastering the art of depicting this intricate organ opens a portal to the very essence of your storytelling.

Delve into the fascinating anatomy of the human eye, where the iris dances with secrets, the pupil reveals the depth of emotion, and the cornea reflects the world in a thousand shimmering facets.

Learn the genetic alchemy that weaves the tapestry of eye colors, each hue an enigma waiting to be unraveled.

With these fundamentals at your fingertips, you’ll transform mundane descriptions into vivid canvases that breathe life into your characters and invite readers to journey deep into the heart of your narrative.

The anatomy of the human eye

The anatomy of the human eye is a marvel of nature’s precision and complexity. At its core, the eye is a biological masterpiece, comprised of several intricate components working in seamless harmony.

The iris, like a curtain, regulates the amount of light that enters, its unique pigmentation bestowing individuality upon each gaze.

The pupil, a minuscule portal, dilates and contracts in response to varying light conditions, mirroring the ebb and flow of emotions.

The cornea, a crystal-clear dome, refracts light, allowing the world to be painted upon the canvas of the retina.

Meanwhile, the lens flexes and focuses like a camera, ensuring that images are sharp and clear. These elements, along with many others, combine to create the breathtaking phenomenon of vision, reminding us that the human eye is not just an organ; it’s a gateway to perceiving the beauty and wonder of the world.

The science of eye colors

The science of eye colors is a captivating journey into the genetic tapestry that defines our visual uniqueness. Eye color, the result of intricate genetic interactions, is a testament to the fascinating complexities of human inheritance.

While blue, brown, green, and hazel are among the most common eye colors, the possibilities are nearly endless, with variations and shades that make each individual’s eyes as distinctive as their fingerprints.

This intricate dance of genetics involves multiple genes, such as OCA2 and HERC2, which determine the type and amount of pigments in the iris. Environmental factors can also influence the final hue.

The science of eye colors not only unveils the mystery behind our gaze but also highlights the intricate symphony of our DNA, reminding us that even in the realm of genetics, diversity reigns supreme.

The Power of Vivid Imagery

The Power of Vivid Imagery in writing is the literary equivalent of a painter’s brushstroke on the canvas of the reader’s mind.

It’s the sorcerer’s incantation that summons the story to life, transforming mundane words into an exhilarating sensory experience.

With the deft strokes of metaphor and the careful selection of adjectives, writers have the power to transport readers into the heart of their narrative.

It’s a symphony of the senses where readers can not only see the world but taste its colors, smell its emotions, and touch the intangible.

Vivid imagery is the key that unlocks the door to a realm where words cease to be mere symbols; they become a portal to a universe where imagination reigns supreme, and stories take on a life of their own.

The role of sensory language in eye descriptions

The role of sensory language in eye descriptions is akin to weaving a tapestry of perception that envelops the reader in a multisensory experience.

It’s the subtle art of not just telling the reader about the eyes but allowing them to feel the world through them.

With the right choice of words, a writer can make eyes shimmer like polished emeralds, glint with the warmth of a summer sunset, or smolder like the depths of a midnight abyss.

Sensory language invites readers to not only visualize but also feel the texture of an iris, hear the whispers hidden in a gaze, and even taste the emotions concealed behind a blink.

It’s a literary alchemy that elevates eye descriptions from mere visuals to a symphony of sensations, fostering a profound connection between the reader and the characters they encounter on the page.

Painting a picture with words: similes and metaphors

Painting a picture with words through similes and metaphors is akin to wielding a magic brush that transforms the ordinary into the extraordinary in the realm of literature.

Similes are the luminescent stars that twinkle in the night sky of prose, likening one element to another, allowing readers to see, feel, and understand the subject in a whole new light.

Metaphors, on the other hand, are the bold strokes of genius that bridge the gap between two seemingly unrelated entities, creating a fusion of ideas that dances on the canvas of the imagination.

Together, these literary devices breathe life into the written word, turning mundane descriptions into vibrant, living portraits.

They are the language of the poet, the voice of the storyteller, and the enchantment that beckons readers to immerse themselves in the vivid landscapes of the writer’s creation, where words transcend their literal meanings and become a tapestry of wonder.

Selecting the right adjectives to enhance visual impact

Selecting the right adjectives to enhance visual impact in writing is akin to choosing the perfect brush strokes for a masterpiece.

It’s about meticulously curating a palette of words that will color the reader’s imagination with vivid and evocative images.

The selection of adjectives is more than just embellishment; it’s the essence of storytelling. A well-chosen adjective can transform a simple “blue eye” into a “deep sapphire gaze,” instantly conjuring a more vivid and nuanced picture.

The art lies not only in choosing descriptive words but in understanding their power to evoke emotions and resonate with the reader’s senses.

When wielded adeptly, adjectives breathe life into characters, landscapes, and scenes, allowing readers to not only see but also experience the narrative in all its rich and immersive detail.

Beyond Physical Appearance

Beyond physical appearance lies the enigmatic realm of character depth and storytelling magic. In the world of writing, eyes are not just windows to the soul; they are mirrors reflecting the intricate layers of a character’s psyche.

They bear witness to inner storms and quiet victories, revealing secrets that words alone cannot express. Beyond the hue and shape, eyes carry the weight of history, the scars of experience, and the dreams of the future.

They are the silent narrators of a character’s journey, conveying courage, vulnerability, love, and longing with the subtlest of glances.

When a writer delves beyond physical appearance and explores the profound narrative potential within a character’s eyes, storytelling transcends the superficial, inviting readers on an emotional odyssey that lingers long after the final page is turned.

Reflecting emotions and personality through the eyes

Reflecting emotions and personality through the eyes is a poetic dance of revelation in storytelling.

The eyes are the windows through which the heart and soul’s myriad hues spill forth. In their depths, we find the silent poetry of love, the tempestuous storms of anger, the shimmering oceans of sadness, and the radiant sunrises of joy.

They can be smoldering with mystery, sparkling with mischief, or harboring the wisdom of ages. A character’s eyes not only mirror their emotions but also serve as portals to their inner world, offering readers an intimate glimpse into their fears, desires, and aspirations.

The flicker of a gaze, the quiver of a lid, or the steadiness of a stare can reveal more about a character’s personality than pages of exposition ever could.

When words alone fall short, it is in the eyes that the true essence of a character is unveiled, creating an indelible connection between the reader and the narrative.

Symbolism and cultural nuances associated with eyes

Symbolism and cultural nuances associated with eyes form a rich tapestry of meaning that transcends linguistic and geographical boundaries.

Across cultures, eyes have been endowed with profound symbolism, serving as metaphors for enlightenment, knowledge, and perception. In the East, the “third eye” is a symbol of spiritual insight and higher consciousness, often depicted as an inner eye that sees beyond the physical realm.

Conversely, in Western literature and art, the “evil eye” represents malevolent intent and the power to curse. In Native American cultures, the concept of the “eye of the heart” is revered as a source of intuition and emotional understanding.

Eyes are also deeply intertwined with cultural expressions of beauty and aesthetics, influencing practices such as makeup, adornment, and body language.

Understanding the symbolic weight and cultural nuances associated with eyes is essential for writers, as it adds depth and authenticity to character development, and offers readers a gateway into the rich tapestry of human beliefs and traditions.

Creating depth through character development

Creating depth through character development is the alchemy that transforms ink and paper into living, breathing individuals within the world of a story.

It’s the process of infusing characters with the complexities of real human beings: their hopes, fears, contradictions, and aspirations. Just as in life, a character’s journey is not solely defined by their actions but by their inner struggles, moral dilemmas, and personal growth.

It’s about crafting characters who evolve, learn, and change, driven by desires and haunted by flaws. Readers are drawn into a story not just by its plot but by the emotional resonance of its characters.

In their depth, we find empathy, connection, and a mirror reflecting our own humanity. Writers who master the art of character development breathe life into their stories , inviting readers to embark on an intimate and unforgettable voyage through the hearts and minds of their literary creations.

Examples from famous literature

Examples from famous literature illuminate the enduring power of vivid eye descriptions. In F. Scott Fitzgerald’s “The Great Gatsby,” the enigmatic eyes of Dr. T.J. Eckleburg, looming over the Valley of Ashes, become a haunting symbol of moral decay and the watchful gaze of a judgmental society.

J.K. Rowling masterfully employs eye descriptions in the “Harry Potter” series, with Voldemort’s crimson, snake-like eyes serving as a chilling emblem of his malevolence. In “To Kill a Mockingbird” by Harper Lee, the haunting description of Boo Radley’s reclusive eyes through the eyes of Scout and Jem encapsulates the novel’s themes of innocence, prejudice, and compassion.

These literary examples showcase how authors harness the evocative potential of eye descriptions to enrich their narratives and create lasting impressions in the minds of readers, demonstrating that the eyes are not just organs but windows to the soul of a story.

Techniques for Effective Eye Descriptions

Techniques for effective eye descriptions are the secret incantations of the literary sorcerer, unlocking the deepest emotions and hidden depths of characters.

They’re the whispers that beckon readers into the intimate recesses of a character’s soul. From the choice of perspective, whether first-person intimacy or third-person observance, to the art of gradual revelation, where each detail is a breadcrumb leading to greater understanding, these techniques are the keys to creating memorable eye descriptions.

They allow writers to unveil secrets, convey emotions, and even advance the plot, all through the silent language of the eyes.

In the hands of a skilled wordsmith, these techniques transcend mere physical descriptions, forging a profound connection between the reader and the characters, leaving an indelible mark on the narrative and a lasting impression on the reader’s heart.

First-person vs. third-person perspectives

The choice between first-person and third-person perspectives in writing is akin to selecting the lens through which the reader experiences a story .

First-person perspective immerses readers deep within the psyche of a singular character, providing an intimate and immediate connection with their thoughts, emotions, and perceptions.

It’s a direct line to the character’s inner world, offering authenticity and empathy. In contrast, third-person perspective provides a panoramic view, offering insights into multiple characters’ thoughts and actions while maintaining a degree of narrative distance.

It grants writers the ability to build a complex, multifaceted world, weaving together the stories of various characters.

The choice between these perspectives is a strategic decision, each offering unique advantages and challenges, but both capable of crafting rich and compelling narratives that resonate with readers on different levels.

Incorporating eye descriptions into action scenes

Incorporating eye descriptions into action scenes is like adding a layer of visceral intensity to the narrative canvas.

When characters are caught in the throes of high-stakes moments, their eyes become windows into their determination, fear, or resolve.

Whether it’s the glint of a hero’s unwavering resolve or the widening of a villain’s malevolent gaze, eye descriptions can amplify the tension and emotion of the scene.

Readers, in these moments, are not just spectators but active participants, experiencing the adrenaline rush and emotional turmoil alongside the characters.

The subtle details of clenched lids, darting glances, or pupils dilated in shock can serve as powerful markers of a character’s internal state, allowing writers to convey depth and nuance even in the most action-packed sequences.

In the whirlwind of chaos, the eyes offer readers a grounding point, a profound insight into the characters’ humanity amidst the chaos.

Crafting Memorable Characters

Crafting memorable characters is akin to sculpting timeless works of art from the clay of imagination. It’s a delicate dance of inspiration and intention, where writers breathe life into their literary creations.

These characters are not merely ink and paper; they are the embodiment of dreams, fears, and aspirations. They carry the weight of their past and the promise of their future, and through their struggles, triumphs, and vulnerabilities, they beckon readers to walk beside them on the intricate journey of the narrative.

Like chameleons, they adapt and evolve, revealing facets of their personalities with every turn of the page, forging connections that endure long after the story ends.

In the alchemy of character crafting, writers wield the power to change lives, challenge perspectives, and ignite imaginations, leaving an indelible mark on the literary landscape and the hearts of readers.

Developing a character’s backstory through their eyes

Developing a character’s backstory through their eyes is a subtle art of storytelling, akin to tracing the lines of history etched into a person’s gaze.

Eyes, like ancient manuscripts, hold secrets and chapters of the past that can be unveiled to enrich a character’s narrative.

The subtle flicker of sorrow in their gaze might hint at a childhood loss, while the spark of determination may reveal a lifetime of challenges overcome.

The eyes can be a portal to the character’s memories, showcasing scars, joys, and sorrows that have shaped them into who they are today.

In this intricate dance of character development, writers weave the threads of past experiences into the tapestry of the present, creating a character with depth, resonance, and a compelling backstory that resonates with readers on a profound level.

Conveying inner turmoil, secrets, and hidden agendas

Conveying inner turmoil, secrets, and hidden agendas through a character’s eyes is a mesmerizing act of literary intrigue.

The eyes become a canvas of emotions and unspoken truths, reflecting the turbulence within. A character’s gaze may betray the weight of unshared burdens, the flicker of a concealed motive, or the torment of a carefully guarded secret.

In their depths, we witness the swirling storms of inner conflict, the silent battles of conscience, and the enigmatic web of desires left unspoken.

The eyes are the storyteller’s most potent instrument, revealing the complex layers of human nature that lie beneath the surface.

As writers master the art of portraying these inner landscapes through the eyes, they invite readers to become detectives, deciphering the mysteries and unraveling the hidden depths of their characters, forging an unbreakable bond between reader and narrative.

Evoking empathy and reader connection

Evoking empathy and reader connection through a character’s eyes is akin to forging an unspoken pact between writer and reader, where the boundaries of the page dissolve, and hearts converge in understanding.

The eyes, often described as the windows to the soul, become the bridge between worlds. When a character’s eyes reflect their vulnerabilities, hopes, and fears, readers can’t help but see a reflection of themselves.

It’s in those moments of shared humanity, when readers recognize their own struggles, joys, and imperfections mirrored in the characters’ gaze, that a deep and enduring connection is formed.

Through the artful depiction of eyes, writers invite readers not just to witness a story but to experience it intimately, forging bonds that transcend fiction and make the characters’ journey their own.

Case Studies

Case studies are like literary treasure maps, guiding us through the intricate labyrinth of storytelling with the wisdom gleaned from the literary masters who’ve walked the path before us.

They are the vibrant tapestries woven from the threads of imagination and inspiration, showcasing the brilliance of writers who’ve dared to push the boundaries of the written word.

These captivating narratives dissect the anatomy of storytelling, revealing the nuances of character development, plot twists , and thematic resonance with the precision of a surgeon’s scalpel.

Through case studies, we delve into the hearts and minds of unforgettable characters, witnessing their trials, tribulations, and triumphs.

These explorations of literary excellence are not just academic exercises; they are invitations to embark on intellectual adventures, fueling our own creative fires and inspiring us to craft our own masterpieces.

Analyzing notable examples from literature

Analyzing notable examples from literature is akin to entering a hallowed hall of mirrors, where each reflection reveals a different facet of the storytelling gem.

It’s a journey of literary excavation, where we unearth the treasures hidden within the words of the great authors who have shaped the canon of literature.

Through the careful dissection of these masterpieces, we uncover the secrets of character development, narrative structure, and thematic depth.

These notable examples are not just stories; they are living classrooms, offering profound insights into the human condition, cultural nuances, and the enduring power of the written word.

As we analyze these literary gems, we become not only readers but also scholars, peering behind the curtain of the author’s intentions and craftsmanship, and in doing so, we enrich our own understanding of the art of storytelling.

Deconstructing successful eye descriptions

Deconstructing successful eye descriptions is like unraveling a finely woven tapestry, revealing the intricate threads that make them shine.

It’s a detective’s quest, a literary adventure into the art of crafting evocative imagery. By dissecting these descriptions, we uncover the secrets of metaphor, simile, and the precise selection of adjectives that breathe life into the eyes on the page.

We observe how authors employ sensory language to create an immersive experience and build emotional connections between the characters and readers.

Successful eye descriptions aren’t just words on paper; they are living expressions of the characters’ inner worlds, windows into their emotions, and vehicles for conveying themes and subtext.

Deconstruction unveils the alchemy of storytelling, inviting us to peer beyond the surface and learn from the masters who’ve mastered the craft of describing eyes with brilliance and resonance.

Discussing the impact of eye descriptions on plot and character development

Discussing the impact of eye descriptions on plot and character development reveals the profound influence that seemingly subtle details can have on the entire narrative landscape.

Eyes, as conduits of emotion and intention, hold the power to shape the trajectory of a story. The way characters perceive the world, the motives they hide or reveal through their gazes, and the evolving dynamics between them, all pivot around the descriptions of their eyes.

These visual cues become signposts in the reader’s journey, foreshadowing plot twists, revealing hidden agendas, and enriching the tapestry of interpersonal relationships.

By delving into the impact of eye descriptions, we uncover how the nuances of a character’s gaze can be pivotal turning points or subtle undercurrents that drive the narrative forward, creating a symbiotic relationship between the characters’ eyes and the unfolding story.

Ethical Considerations

Ethical considerations in writing are the compass that guides us through the labyrinth of creativity , ensuring that our words bear the weight of responsibility and respect for diverse voices and perspectives.

It’s the moral anchor that reminds us that storytelling is not just an act of creation but also a reflection of our values and beliefs.

With every word we craft, we have the power to influence, inspire, or perpetuate harmful stereotypes. Ethical considerations challenge us to be conscious of cultural sensitivities, to embrace diversity, and to question our biases.

They prompt us to portray characters authentically, to avoid reducing them to caricatures, and to acknowledge the lived experiences of others.

In the realm of storytelling, ethics are not constraints but catalysts for thoughtfulness and empathy, reminding us that our words have the potential to shape minds, hearts, and even societies.

Avoiding stereotypes and clichés in eye descriptions

Avoiding stereotypes and clichés in eye descriptions is the hallmark of a discerning writer who refuses to settle for the ordinary.

Stereotypes, like overused tropes, can flatten characters into one-dimensional caricatures, robbing them of their authenticity and depth. In the world of eye descriptions, this means shunning tired clichés like “eyes as deep as the ocean” or “eyes that sparkle like stars,” and instead, embracing the unique nuances of each character’s gaze.

It’s about understanding that every pair of eyes tells a distinctive story, and it’s our duty as writers to do justice to that complexity.

By avoiding stereotypes and clichés, we honor the diversity of human experiences, allowing our characters to emerge as multifaceted beings with eyes that reflect the intricacies of their personalities, histories, and emotions.

The Revision Process

The revision process is the writer’s metamorphosis, where the raw ore of first drafts undergoes a refining fire to emerge as polished gems of storytelling.

It’s an act of alchemy, where words are transmuted into art. Like a sculptor chiseling away at a block of marble, the writer sculpts and reshapes sentences and paragraphs until they gleam with clarity and purpose.

It’s a dance of introspection and innovation, where each word is scrutinized, each scene dissected, and every character’s gaze scrutinized.

Through this meticulous process, the narrative deepens, characters grow more nuanced, and themes resonate more profoundly.

The revision process is where the magic happens, where a story is transformed from a rough sketch into a masterpiece, and where the writer’s dedication to craft shines brightest.

The importance of revising eye descriptions

The importance of revising eye descriptions in writing cannot be overstated. Just as a painter perfects each brushstroke to capture the essence of their subject, writers must refine and fine-tune their eye descriptions to encapsulate the true spirit of their characters. Revisions allow us to peel away layers of superficiality, to dive deeper into a character’s soul, and to ensure that each adjective, metaphor, and simile resonates with precision and impact.

Eye descriptions, being windows to a character’s emotions and personality, are powerful tools for reader engagement.

Through revision, we can evoke greater empathy, reveal hidden layers of complexity, and convey subtle shifts in mood or motive.

Ultimately, the well-revised eye description has the potential to transform a character from a mere figure on the page into a living, breathing entity that lingers in the reader’s mind long after the story has ended.

Fine-tuning eye descriptions for maximum effect

Fine-tuning eye descriptions for maximum effect is the writer’s quest for poetic precision and emotional resonance. It’s about sharpening the focus, like a photographer adjusting the lens for the perfect shot, until every detail is vivid and every emotion palpable.

Each word, each phrase, becomes a brushstroke on the canvas of the reader’s mind, painting a portrait that lingers in memory. It’s in the subtle nuances, the delicate balance of adjectives, and the cadence of the prose that we achieve the greatest impact.

Fine-tuning isn’t just about aesthetics; it’s about conveying the character’s essence, their struggles and dreams, their history and destiny, all through the silent language of their eyes.

It’s in the meticulous revision of eye descriptions that we elevate them from mere words on a page to powerful conduits of connection, drawing readers into the heart of the narrative with every gaze, every flicker, and every unspoken emotion.

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

How can i make my eye descriptions more captivating and unique.

To make your eye descriptions stand out, try to use unconventional comparisons and metaphors. Think beyond the typical “deep as the ocean” and experiment with unexpected analogies that suit your character or setting.

Should I focus on physical details or emotions when describing eyes?

Both physical details and emotions are important. Combining them can create a well-rounded description. Describe the physical characteristics first, and then delve into how those eyes reflect the character’s emotions or inner world.

Can you provide examples of how to describe unusual eye colors?

Certainly! For instance, describe violet eyes as “a shade between twilight and a pansy,” or golden eyes as “gleaming like molten honey under the sun.”

How can I describe eyes in a way that reveals a character’s backstory?

You can reveal a character’s backstory through their eyes by mentioning scars, wrinkles, or a haunted look that hints at past experiences. For example, “Her eyes held the weight of years gone by, etched with lines of wisdom and sorrow.”

What’s the best way to describe eyes in a suspenseful or mysterious scene?

In suspenseful scenes, focus on the intensity and movement of the eyes. Mention how they dart around, widen in fear, or narrow in suspicion. Describe them as “searching for answers in the shadows” or “hiding secrets behind a veil of uncertainty.”

Can I use the eyes to foreshadow events in my story?

Yes, eyes can be a subtle tool for foreshadowing. Describe them in a way that hints at what’s to come. For instance, you can mention “a glint of mischief” if a character is planning something mischievous.

How can I describe eyes in a romantic context without being cliché?

To describe eyes in a romantic context without clichés, focus on the unique qualities of the eyes and how they captivate the other person. Mention details like “their eyes met like two stars colliding in the night sky,” instead of using overused comparisons like “lost in their gaze.”

Is it essential to describe every detail of a character’s eyes?

No, it’s not necessary to describe every detail. Select the most significant and relevant details that contribute to the character’s depth or the story’s atmosphere. Less can often be more effective.

How can I convey a character’s change in emotions through their eyes during a dialogue scene?

Use eye descriptions in conjunction with dialogue tags and actions to convey emotions. For example, “Her eyes brightened with excitement as she exclaimed…” or “His eyes hardened with resolve as he responded…”

Can I use eyes to symbolize themes in my story?

Absolutely. Eyes can symbolize themes such as insight, deception, or connection. Describe them in a way that aligns with your story’s themes to add depth and symbolism.

Remember, the key to effective eye descriptions is to tailor them to your characters, plot, and the emotions you want to convey, and to keep your writing fresh and engaging.

In the art of storytelling, the eyes have proven time and again to be powerful conduits of emotion, character depth, and narrative resonance.

As we conclude our exploration of “How To Describe Eyes In Writing,” we find ourselves equipped with the tools and insights to transform mere descriptions into vivid canvases that captivate and engage readers.

We’ve navigated the intricate terrain of sensory language, metaphors, and character development, and delved into the realm of symbolism and cultural nuances.

We’ve also pondered the ethical dimensions of our craft, striving to represent diverse perspectives with sensitivity and respect.

Whether crafting eyes that shimmer with mystery, smolder with intensity, or glisten with vulnerability, the art of describing eyes allows us to leave an indelible mark on the tapestry of storytelling.

As we continue our literary journeys, may our newfound understanding of this subtle yet profound aspect of character portrayal enhance our storytelling prowess, leaving readers both enthralled and moved by the vivid worlds we create through the gaze of our characters.

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24 Writing Prompts To Describe Eyes

It’s often that eye-to-eye connection that sets the fire inside the human mind. 

But how do you describe them properly in your story? 

Well, even I was once in that exact dilemma and hence I decided to bring forward to you some amazing prompts related to eyes. 

They will not only help you describe eyes in a quirky and classy manner but also focus on stories that help you see the world in a better way. 

• The Mirror of Souls : In a mystical land, there’s a belief that a person’s eyes are windows to their past lives. Your character has the rare ability to see these past lives reflected in the eyes of others, revealing secrets , ancient mysteries , and forgotten truths. The story unfolds as they meet someone whose eyes show a past life intertwined with theirs, hinting at a shared destiny. Write a story where your character navigates this revelation and the ensuing journey of discovery.
• Eyes of the Storm : Your protagonist lives in a world where eye color changes with emotions . These color changes are not just cosmetic; they bestow certain powers or weaknesses depending on the emotion felt. Your character discovers they possess a unique eye color that appears only during the rarest and most intense emotions, granting them extraordinary abilities. Craft a narrative exploring how this discovery affects their life and the challenges they face.
• The Gaze of Eternity : In a futuristic society, technology has advanced to the point where people can have their eyes replaced with cybernetic implants that grant various abilities, like seeing different spectrums, zooming in on distant objects, or even recording memories. Your main character, however, chooses to keep their natural eyes for personal reasons. Delve into a story that explores the implications of this choice in a tech-dominated world.
• Eyes That Remember : Your character has the unique ability to remember everything they see in perfect detail. This photographic memory is both a blessing and a curse, as they struggle to cope with the onslaught of visual information and the secrets they inadvertently uncover. Write about how they navigate a world where they cannot forget a single sight.
• The Color Thief : In a fantasy realm, there exists a creature that steals the colors from people’s eyes, rendering them colorblind. Your protagonist is afflicted by this curse and embarks on a quest to restore their sight. Along the way, they discover the deeper significance of the colors in their eyes, which are tied to their identity and power . Explore their journey to reclaim what they’ve lost and the lessons learned along the way.
• Windows to Another World : Your protagonist has a peculiar condition: whenever they lock eyes with someone, they momentarily see through that person’s eyes, experiencing their thoughts and feelings. This ability brings both empathy and turmoil, as they are often overwhelmed by the emotions and secrets of others. Craft a tale about how they cope with this overwhelming gift and the connections they forge.
• The Blind Seer : In a world where everyone relies heavily on visual cues, your main character is born blind. However, they possess an extraordinary gift of foresight, seeing future events in vivid detail. This paradoxical situation of a blind seer puts them in a unique position in their society. Write about the challenges and triumphs they experience as they navigate a world that underestimates their abilities.
• Eclipsed Eyes : During a rare celestial event, your character gains the ability to see hidden truths and lies , but only when the event is occurring. As the next event approaches, they prepare to uncover a truth that has been haunting them for years, related to a personal mystery or a larger conspiracy. Delve into their preparation and the revelations that unfold under the celestial phenomenon.
• The Lighthouse Eyes : In a coastal village shrouded in fog, there’s a legend of a person born every generation with lighthouse eyes. These eyes, glowing and guiding like beacons, can see through the thickest fog and darkness, leading lost souls to safety. Your character, born with this gift, faces the challenge of balancing a normal life with the duty of guiding ships and people through life’s metaphorical and literal fogs. Write a story exploring the burdens and joys of this unique responsibility .
• Eyes of the Zodiac : In a world where eye color determines one ’s alignment with a Zodiac sign, your character is born under a rare planetary alignment, giving them a unique eye color linked to all Zodiac signs. This grants them the ability to harness different powers and traits from each sign, but also brings uncertainty about their true identity. Delve into their journey of self-discovery and the challenges they face in a society governed by astrological norms.
• The Unseen Spectrum : Imagine a character who can see colors beyond the normal spectrum, perceiving hues that no one else can. This ability allows them to uncover hidden messages and patterns in the world around them, leading to discoveries both wonderful and dangerous. Craft a narrative about how this extraordinary vision impacts their perception of the world and their place in it.
• The Weaver of Visions : In a mystical land, your character has the rare ability to weave illusions and visions through their gaze. However, the more they use this power, the more their own vision fades, presenting a risk of eventual blindness. Write about the moral and emotional dilemmas they face as they choose when and how to use this gift.
• The Shattered Sight : After a mysterious event, your character’s vision fractures, allowing them to see multiple timelines simultaneously. This fragmented sight reveals potential futures and pasts, but deciphering the truth among these possibilities is a daunting task. Explore their struggle to find reality in a sea of what could have been and what might be.
• The Guardian’s Gaze : In a realm guarded by celestial beings, your character is chosen as a Guardian, bestowed with eyes that can detect any form of evil or corruption. This sacred duty requires them to be ever-vigilant, but the constant exposure to darkness takes a toll on their psyche. Write about their journey of upholding their duty while maintaining their own sanity and morality.
• Echoes in the Iris : Your protagonist has a unique condition where their eyes change patterns based on the sounds they hear. These visual echoes create a beautiful , ever-changing tapestry in their eyes but also make them sensitive to the cacophony of the world. Delve into a story where they learn to navigate a world overwhelming both in sight and sound.
• The Frost Gaze : In a world where winter reigns supreme, your character possesses eyes that can freeze anything they gaze upon. Initially seen as a curse, they learn to harness this power to protect their community from external threats. However, they must also confront the internal struggle of isolation due to their fearsome ability. Explore their journey towards finding a balance between fear and acceptance, both within themselves and from those around them.
• The Ember Eyes : In a land ravaged by perpetual conflict , your character is born with ember eyes, which ignite into flames when witnessing injustice or falsehood. This gift compels them to seek and confront societal ills, but also makes them a target for those who wish to maintain the status quo. Write a story about their crusade for truth and the challenges they face in a world rife with deception.
• Eyes of the Deep : Your protagonist is a deep-sea diver who discovers they can see in the darkest depths of the ocean without any artificial light. This ability unveils a hidden underwater world, filled with ancient secrets and unknown dangers. Craft a narrative exploring their underwater adventures and the mysteries they uncover in the abyss.
• The Starlit Sight : In a realm where people’s eyes reflect the night sky they were born under, your character’s eyes are a tapestry of constellations, holding the power to navigate by the stars and predict celestial events. This unique connection to the cosmos brings both reverence and fear from others. Delve into their journey as they grapple with their connection to the universe and their place on Earth .
• The Whispering Glance : Your character possesses eyes that can hear whispers, catching fragments of thoughts and secrets just by looking at someone. This ability opens doors to unsought truths and hidden desires, but also exposes them to unwanted knowledge and ethical dilemmas. Write about their struggle with the power of knowing too much and the choices they make with this information.
• The Clockwork Eyes : Set in a steampunk world, your character has mechanical eyes, intricately designed with gears and cogs. These eyes grant enhanced vision, allowing them to see minute details and distant objects with clarity. However, they also require regular maintenance and are susceptible to malfunction. Explore the challenges and adventures they face in a world of machinery and innovation.
• The Healing Gaze : In a world plagued by illness and injury , your character has the rare ability to heal with their sight. Their gaze can mend wounds and cure ailments, but each use drains their own vitality. Craft a tale about the moral implications of their gift and the decisions they face in choosing whom to heal.
• The Doppelgänger Vision : Your protagonist can see people’s doppelgängers – spectral images of their alternate selves from different choices and paths. This ability unveils the complexities of destiny and free will, as they witness the multitude of lives one could lead. Write a story exploring the impact of this insight on their understanding of people and their own life decisions.
• The Canvas Eyes : Your character’s eyes are like ever-changing canvases, reflecting their innermost thoughts and dreams in vivid, moving images. This rare condition makes them an object of fascination and fear, as their eyes reveal more than they intend. Delve into their journey of self-discovery and the challenges of living with such a transparent window into their soul.

Founder and Chief Content Curator @ Digital Phrases

I'm a writer, words are my superpower, and storytelling is my kryptonite.

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20 of the Best Words to Describe Eyes, Windows to the Soul

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Vocabulary Boosters

When writing or talking about eyes, you’re going to have to describe them because it is inevitable. Most people will stick to describing eyes by color, but that is positively boring and too common.

There are better words to describe eyes that you can use, and they are not too difficult to put into your writing. For your next writing assignment, you can use some of the following words to describe eyes below.

Words to describe eyes: for blue eyes

For green eyes

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  It doesn’t seem difficult at all to describe any color of eyes, and it shouldn’t be.   Whether you have a limited scope of English or a wide one, there are some simple words to describe eyes that you can use for a more detailed description of someone. You can use any of these examples above for inspiration.  

BRYN DONOVAN

tell your stories, love your life

• Writing Inspiration
• Semi-Charmed Life
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Master List of Facial Expressions

This list of facial expressions for writers is one of my all-time most popular posts. It came about because I started to list facial expressions in a spiral notebook for my own reference, and then I figured I’d share. A lot of writers keep this page bookmarked! 

Writers need good facial expression descriptions in their writing to help the readers picture the characters and to convey emotions. However, it’s easy for us to rely on the same descriptions over and over again. And sometimes in the middle of writing, when we’re trying to find the words to describe an angry expression or a sad expression, we draw a blank.

The expressions are broken down by the part of the face. Note that some of them work for more than one emotion—a person might narrow their eyes out of vindictiveness or skepticism, for instance, and their face might turn red out of anger or out of embarrassment. Some of them require a little more explanation on your part. You’ll have to say what she’s glaring at, or if his face is contorting in rage, or grief, or what. And not all of these will work for every character. In many cases I’ve given several ways to describe the same thing. While I have included some longer phrases, they are not proprietary and it’s fine to use them.

Some of these aren’t exactly  words to describe facial expressions, but they’re useful for dialogue tags. In fact, I started this list in a notebook for myself as a reference so I would stop using “he said” and “she said” so often…and as any editor or writing coach will tell you, just using tons of synonyms for “said” does not solve this problem; it makes it worse! By using a facial expression as a dialogue tag, you can also convey the tone of voice.

Here’s the facial expressions list. You might want to pin it for future reference!

Ways to Describe Expressions Related to the Eyes and Eyebrows

his eyes widened

their eyes went round

her eyelids drooped

his eyes narrowed

his eyes lit up

his eyes darted

he squinted

she blinked

her eyes twinkled

his eyes gleamed

her eyes sparkled

his eyes flashed

her eyes glinted

his eyes burned with…

her eyes blazed with…

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her eyes sparked with…

her eyes flickered with…

_____ glowed in his eyes

the corners of his eyes crinkled

she rolled her eyes

he looked heavenward

she glanced up to the ceiling

tears filled her eyes

his eyes welled up

her eyes swam with tears

his eyes flooded with tears

her eyes were wet

their eyes glistened

tears shimmered in her eyes

tears shone in his eyes

her eyes were glossy

he was fighting back tears

tears ran down her cheeks

his eyes closed

she squeezed her eyes shut

he shut his eyes

his lashes fluttered

she batted her lashes

her forehead creased

his forehead furrowed

her forehead puckered

a line appeared between their brows

his brows drew together

her brows snapped together

his eyebrows rose

she raised a brow

he lifted an eyebrow

his eyebrows waggled

she gave him a once-over

he sized her up

her eyes bored into him

she took in the sight of…

she glanced

she scrutinized

he observed

she surveyed

his pupils (were) dilated

her pupils were huge

his pupils flared

Ways to Describe Expressions Related to the Nose

her nose crinkled

his nose wrinkled

she sneered

his nostrils flared

she stuck her nose in the air

she sniffled

Ways to Describe Expressions Related to the Mouth

she grinned

he simpered

her mouth curved into a smile

the corners of his mouth turned up

the corner of her mouth quirked up

a corner of his mouth lifted

his mouth twitched

he gave a half-smile

she gave a lopsided grin

he plastered a smile on his face

she forced a smile

he faked a smile

their smile faded

his smile slipped

he pursed his lips

his mouth snapped shut

her mouth set in a hard line

he pressed his lips together

she bit her lip

he drew his lower lip between his teeth

she nibbled on her bottom lip

he chewed on his bottom lip

his jaw set

her jaw clenched

his jaw tightened

a muscle in her jaw twitched

he ground his jaw

he snarled/his lips drew back in a snarl

her mouth fell open

his jaw dropped

her jaw went slack

he gritted his teeth

she gnashed her teeth

her lower lip trembled

his lower lip quivered

Ways to Describe Reactions Related to the Skin

he blanched

she went white

the color drained out of his face

his face reddened

her cheeks turned pink

his face flushed

she blushed

he turned red

she turned scarlet

he turned crimson

a flush crept up her face

Ways to Describe Expressions Having to Do With the Whole Face

he screwed up his face

she scrunched up her face

they grimaced

she gave him a dirty look

she scowled

he glowered

her whole face lit up

she brightened

his face went blank

her face contorted

his face twisted

her expression closed up

his expression dulled

her expression hardened

she went poker-faced

a vein popped out in his neck

awe transformed his face

fear crossed her face

sadness clouded his features

terror overtook his face

recognition dawned on her face 

It may seem a little obsessive to list facial expressions, but there’s almost nothing I like better than making lists! I have many more lists like this in my book Master Lists for Writers: Thesauruses, Plots, Character Traits, Names, and More. I think it’s a great tool for making “show don’t tell” easier and for inspiration during every part of the writing process. Check it out!

Thank you so much for reading, and happy writing! 

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Writers in the Storm

A blog about writing.

Character Eye Descriptions: The Window to Your Story

By Sharla Rae, @SharlaWrites

Rather than using clichéd or common descriptions, why not use "explicit" eye descriptions to give your reader a real peek into a character’s psyche?

I’ll touch on eye color, movement, and appearance and, of course, I have some helpful lists to inspire ideas.

  Eye color

It’s a given that writers mention eye color as a character feature . Color can be mentioned every so often to remind readers what the character looks like. But! Don’t hit them over the head with it.

Besides using eye color as a facial feature it can sometimes be used to identify who is speaking especially if the color distinctive.

Blue eyes widened and she threw up both hands. “Now hold on a minute.” OR Her amber cat eyes narrowed. “xxxx”

A character might have plain old blue or brown eyes and that’s fine. But why not use color terms that say something about the character or what they're thinking?

• Eyes like silver lightning: sharp, doesn’t miss a thing, spirited, quick-witted
• Gunmetal eyes: sounds like a lethal male, perhaps emotionless
• Glacial blue: Can suggest nationality, or cold personality, angry expression
• Milk chocolate eyes: sounds yummy, soft, warm
• Chips of emerald ice: sharp, cold heated
• Faded azure lace: an older person with blue eyes, lace suggests a woman, perhaps homey

Here’s a great eye color list that will help you describe “who” your character is. This is one of the best I’ve seen to date and includes pictures.

Want to know the most common and rare eye colors in the world? The following are listed from most common to least.

• Amber and Black [rank about even according to which resource you’re looking at]
• Red or Pink [mostly in albinos]

Just for fun here’s a website that tells you the meaning of the color of your eyes.

  Eye Appearance

  Eye appearance/shape isn’t too difficult to write -- round, almond, bug-eyed, beady, sloe-eyed, hooded, upturned/cat, downturned etc. We might also include how the eyes are placed on the face: close-set, deep-set, monolid , protruding etc.

Certain eye conditions or disorders can affect eye appearance and are excellent descriptors. You may not want to use the scientific terms but the descriptions of the terms are also useful. See my list below.

Appearance also includes emotional expression and often involves the eyebrows.

Appearance frequently blurs lines with eye movement and more often than not demonstrates emotions and personality. You'll see examples of this in the lists below.

Eye Movement

Is it just me, or do eye movements mess you up too?

No doubt you’ve heard or read something like: her eyes traveled/fell down the stairs where he stood.

The eyeballs rolled down the steps? Believe it or not, this is a common mistake. And yes as a newbie writer my crit group had a good laugh on me with such a mistake. Words like “gaze,” “visage,” "glance," fixes the problem.

A tiresome descriptor for eye movement are the over-used look, looked and looking. If our eyes are open they are looking and it really doesn’t say much more than that. There’s nothing wrong with using look but never varying with more explicit substitutes is boring and causes echoes .

Try: gaze, glance, surveyed, glared, raked, searched, watched, scanned etc. You’ll find lots of these in the lists below. Notice, too, that some have very specific connotations.

As mentioned above, eyebrows are very much a part of eye movement and play an important part in expressing emotion. Blinking eyelashes show emotion too but at the risk of sounding silly, don’t overuse this one.

And now for my lists. These include eye movement, appearance/expression, disorders and conditions, eye parts and types of eyeglasses.

Anchored her attention on Angry gaze sliced Assessing Blinked owlishly Blinking with feigned innocence Brow furrowed as his mouth turned grim Brows knitted in a frown Bushy brows beetled Cocked a brow in surprise Dragged his hawkish gaze Drilled her with Eyed him demurely/boldly Eyes caressed Eyes crossed in exasperation Eyes retraced their path to Eyes rolled skyward Eyes wandered Flayed him with Focused on her lips Followed as the model passed Gawking at girls Gaze cruised her figure Gaze dipped to her Glance flickered Glanced sideways Glare traveled with unnerving thoroughness Glared daggers [overused] Inspected the cabin Inventoried his surroundings Lashes swept up and she blinked Leveled a glowering look Lingered over the script lines Lowered her eyes/opened Narrowed to crinkled slits One heavy brow slanted in strong disapproval Penetrating gaze probed Perusing the sea of faces in hopes of Plugged his eyes back into their sockets Pried her eyes off the hunk Probing visual caress Raked with disdain Searching the depths Shifted her angry glare to Shot him a disgusted glance Sighted out the corner of her eye Slammed her eyes shut and hummed the pain Squeezed his eyes shut and gritted his teeth Squinted Staring fixedly Strange pale eyes darted Studied with piercing scrutiny Subtle wink Swung her restless gaze Tracking the other man’s gaze Unglued her eyes from him Unrelenting stare Up went his brows Violet eyes strayed to the Watched until distance obscured Wrenched his gaze

Eye Expression and Appearance [Some of these cross over with Movement]

Moon-eyed Sloe-eyed Burned fanatically Devoured her beauty Eyes implored A look designed to peel his hide All-consuming Almond shaped Appraising glance Astute gaze Avid eyes attested to his quick wit Beady rat eyes Beseeching Bewildered Blazed like torches Boomerang brows like Ayatollah Khomeini’s Bright with age Bug-eyed Bulging with fright Chaotic, helter-skelter eyebrow—like his mind, unsystematic and fickle Cold/cool/chilly/icy/frigid Commanding visage Cross-eyed Crudely insulting stare Deep set beneath heavy black brows Disapproval gleamed in her eyes Dissatisfaction plowed his brow Disturbing smoke-hued Elliptical eyes with heavy lids Eyebrows like checkmarks Eyes all gooey with Eyes like a shark Feline eyes Flashed with gaiety/anger etc Flat black, dispassionate as bullets Frankly assessing Get a load of those blinkers Gleam of deviltry Glittering with Green flinty rocks Hallows of madness Hard as nails Heart-stopping eyes Held hostage by his eyes Intent and unwavering/riveted Irritated visage Liquid pools of Luminous glow of happiness Magnetic Mellow as the sky at sunset Narrowed to slits Nebulous gaze / unreadable New moon-shaped Penetrating blue of his eyes Possessed the power to make her Rheumy old eyes Sardonic/disdaining/skeptical/mocking Sharp with intelligence Slits for eyes Sliver of emotion in those cool eyes Sloped down at the corners like a sad pup Small evil eyes Sneaky close-set eyes So tired his eyeballs seemed to sag out Steeply arched brows Sunken in the head Sympathetic Tears of remorse flooded The dark mystery of his eyes Triangular brows/always surprised Twenty-twenty vision Veiled expression of Visionary eyes Visual exploration of Watery eyes Where did you get those peepers Wild and frightened Wore spectacles/glasses/winkers

Eye Disorders and Conditions [You might like this website ]

• Astigmatism : causes fuzzy or blurry vision due to irregular curve in eye lens or cornea.
• Gimlet-eyed : sharp and piercing
• Goggle-eyed : bulging, rolling or staring
• Megalophthalmic : unusually large eyes, often a congenital condition-think goldfish
• Strabismaic : eyes are not properly aligned. Sometimes Cross-eyed or walleyed
• Walleyed : eyes diverging instead of focusing simultaneously on the same point; eyes turned outward away from nose; also used to define a wild irrational staring, glare or fierce look
• Cross-eyed : converging strabismus, eyes turning toward the nose
• Diplopia : double vision
• Cataract : opacity of the lens of the eye, cloudy
• Glaucoma : hardening of the eyeball, often resulting in poor vision or blindness
• Leucoma : disease of the eye in which the cornea becomes white and opaque
• Pinkeye : highly contagious form of conjunctivitis-eye appears rimmed in pink, bloodshot, often swelled and sometimes full of pus.
• Nystagmic : eyeballs moving rapidly and involuntarily
• Ablepsia : lack of sight; blindness
• Farsightedness : ability to see objects at a distance more clearly than close objects
• Nearsighedness :(shortsightedness, myopia) see objects only at close distances
• Cornea : transparent covering of the iris that produces refraction needed to focus image on retinea
• Eye socket: hollow of bone in face holding eyeball
• Eyeball : globe of the eye
• Iris : colored circular muscle in front of eye that controls amount of light that enters the eye
• Retina : inner layer of the eye wall composed of nervous tissue stimulated by light to send impulses to the brain.
• Optic nerve : nerve that sends sight impulses from the eye to the brain
• Pupil : round contractile aperture in iris of eye, regulating light into the eye
• Vitreous humor : jelly-like material that fills eyeball and forms its shape
• Eye lashes : hair around the eyes

Eye Corrections [A good overview of modern lenses ]

Note: Although it’s not exactly known when eye glasses were first invented, they appear in a 1352 painting.

• Aviator : sunglasses with oversized lenses; associated with pilots
• Ben Franklins : glasses with small ellipitcal, octagonal or oblong lenses worn on the middle of the nose; in slang often referred to as granny glasses
• Bifocals : glasses having split lenses to improve both near and farsightedness
• Contact lenses : lenses worn directly on the eye
• Eyeglasses or spectacles or winkers : worn to correct vision; lenses set in frames that hook behind the ears
• Horn-rimmed : glasses with dark or mottled brown frames; frames are usually heavy
• Monocle: single lens used over eye for correction
• Lorgnettte : eyeglasses on a long handle
• Lorgnon : (French – pince-nez) eyeglasses that clip onto the nose; framless, circular lenses that set on the bridge of the nose
• Loupe:  magnifying glass generally held in the eye and used by jewlers

Now let's have some fun. What are some of the funniest mistakes you've made with eye descriptions or eye movement? What is your biggest pet peeve?

About Sharla

When she’s not writing and researching ways to bedevil her book characters, Sharla enjoys collecting authentically costumed dolls from all over the world, traveling (to seek more dolls!), and reading tons of books. You can find Sharla here at Writers In The Storm or on Twitter at @SharlaWrites .

eye photo credit: Brittany Greene via photopin cc

51 comments on “Character Eye Descriptions: The Window to Your Story”

That was great! Thanks for all the information!!!

Great, Sharla - This helps. I have to remind myself though, not to overuse 'eyes'. Better to intersperse other body movements to express emotion as well, or my scene gets boring....and I run out of terms! Hard to write fresh with 'eyes' - it's all been done!

STELLAR list, Sharla. This goes in my "keepers" email folder for when my brain goes AWOL on eye descriptors. Thanks!

Thanks Gloria. Glad you dropped by.

Great reminders. I am annoyed by the 'moving eyes' too.

Yes, it's easy to echo just the word eyes. I'm glad you brought that up!

Reblogged this on Daphodill's Garden and commented: Great tips to expand on eye descriptors.

Thanks for the Reblog!

Perfect timing with this wonderful information! I'm deep into revisions and looking for fresh ways to show emotions, using both eyes and body language. One question. If eyes can't travel or fall, how do they caress? 😉

A character's eye expression can soften and the gaze can caress.

Brilliant advice, thanks for sharing 🙂

Great post, Sharla!

Another great post...bookmarking it! The "eyes" have it...best blog and writers ever!

Thanks. I almost used The Eyes Have It as a title. 🙂

Great minds, and all that, Sharla.

Awww...thanks a bunch! This comment is a great way to start my day. 🙂

Great post! Thank you. This will take our manuscripts from dull to delicious. =)

Thanks stopping by Sally!

Great collection of eye-related description. 🙂 As long as a person doesn't use the eyes too often to describe, this can be powerful. It's an easy area to overuse, especially with emotion.

True. Too much of a good thing is never good.

Terrific post! So many things to remember. I smiled at your dropping body parts. A writing instructor long ago made fun of those things--Like you, he pointed out eyes--and heads--that drop a lot. Thanks for the great lists. Tweeted/shared.

Thanks Barb. The body parts thing is always touchy. A time or two I've read where an author forgot that both arms were already occupied and wrote in a third arm accidentally.

Reblogged this on jbiggarblog .

Thanks for the reblog!

Great list Sharla Rae, sometimes I get stuck on watched, gazed, searched. Nice to see som many great options, 🙂 I reblogged so I could save this list

This is a keeper! Lord, I love lists!! Thanks for the great post.

I love lists to Barb. Glad you enjoyed these.

This was great Sharla! Lovely of you to take the time to write all this down for everyone. Very helpful. Goes on my blog keeper shelf. 🙂

Thanks Kathleen. I love lists for brainstorming ideas.

Bookmarking this! I have such a hard time describing eyes and eye movement. Thanks.

It's funny. Eyes and their movement sounds like it should be easy but really not, esp. when you want to show more than just the obvious. Thanks for Laurie for stopping by.

Thanks for sharing! This is most definitely going to come in handy when I have a brain-freeze.

I hate brain freeze's because most of the time I'm not even eating yummy ice cream when they happen. 🙂

Sharla, you never fail to provide us with amazing lists of alternatives to the ho-hum. Thanks, this is another keeper 🙂

Welcome. I'm knocking around for another list already.

This is such a great article. And the lists are fantastic. Thanks!

Thanks for stopping by Veronica.

You are so the queen of lists, Sharla. And all are awesome. I'm saving this with the others. Thanks so much for sharing. I'll do the same.

Really eye-opening post. Nicely done. Thanks.

Your welcome and do share! It's the best way we writers can help each other.

Fantastic post.

Great post. I'm saving this. Would you mind if I reblogged it on Everybody Needs A Little Romance next Friday?

Stephanie, I'd be honored if you reblogged it. Thanks!

Thanks for this informative post on eyes! It's a keeper!

Hands down (!) the most comprehensive discussion of this topic anywhere. I wrote an "eye moment" just last night. Now I'm inspired to go back and punch it up.

Thanks Eric. Sometimes I wonder about myself and my lists so this kind of comment makes it all worth while. 🙂

Great post. It's a keeper. Thank you!

What a wonderful resource. I've shared with my writer's group. LOVE it.

I would add, some other eye accessories, too, like: Sunglasses Cheaters Shades Sunnies Glares Specks

~ Tam Francis ~ http://www.girlinthejitterbugdress.com

This is a wonderful, unusual and very useful post. Thanks so much. My characters seem to glance and gaze a lot too much for my liking (they're far too nosy) so it's great to have your lists.

I really needed this. Thanks for posting it. I always run out of other ways to say "glance" and "look."

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Best Ways To Describe Eye Color In Writing

Eyes are the windows to the soul. A common saying and in day-to-day life, we have learned to not discern a person’s personality or quirks based on their eye color. However, when we are writing, there is a lot more freedom. And eye color is a great way to define your character, give the reader hints about their characteristics or journey within your story.

The selection to choose from is also greater in writing than in eye colors that occur naturally. Purple eyes? Red eyes? No problem!

Let’s have a look at how we can express different eye colors even better than just name-dropping the color.

Best Terms for Black Eyes

Black is an eye color chosen for people that are supposed to seem more secretive and mysterious. A character with black eyes can be very passionate and deep, loyal and intuitive. It’s also often an expression of a very powerful (sometimes hidden) energy.

In a negative context, they can make a character appear non-trustworthy, insect- or reptile-like, and downright evil. Characters with black eyes often have sinister intentions or something to hide.

To vary the description of black eyes you can use the following terms:

• coal (black)
• pitch black
• velvety black

Best Terms for Blue Eyes

Blue eyes are quite common in most newborns, however, it often changes within 2 weeks after birth. This has lead to blue eyes being associated with youth and youthfulness, and innocence. People with blue eyes are usually described as calm and peaceful. They seem to be especially attractive to other characters, too.

In a more negative context, a character with this eye color can literally be blue-eyed, detached from reality, gullible, or even stupid.

Instead of just writing “blue eyes”, try one of these:

• arctic blue
• electric blue

Best Terms for Brown Eyes

Brown is the most common eye color worldwide. Brown-eyed characters are often self-confident and independent, strong and determined. They are seen as trustworthy by other characters, and as exuding an air of warmth and security.

On the other hand, a brown-eyed character can appear brutish or simple, boring, and even dumb.

There are many wonderful tones of brown you can use, such as:

Best Terms for Gray Eyes

Gray eyes are usually reserved for older characters. But they can also express wisdom and gentleness in younger characters. Usually, these characters appear to be sensitive and analytically.

On the less favorable side, gray-eyed characters are seen as bland and boring.

Consider the following descriptions when a character has gray eyes:

• cloudy (gray)

Best Terms for Green Eyes

Usually, green eyes are seen as mysterious and given to characters that are close to nature. They are often described as curious, passionate, and generally positive and happy.

On the darker side, they are linked to jealousy or representing poison.

Different green hues can be used to describe green eyes:

• forest green
• olive (green)

Best Terms for Other Eye Colors

Eyes that show both green and brown color are commonly called hazel eyes. People with hazel eyes are seen as spontaneous, adventurous, and competitive. The two-toned quality can also indicate mood swings, however.

Shows the eye more green color, the character can appear more mischievous. If the color leans more towards the brown side, the character appears more approachable.

Red eyes usually don’t occur naturally in humans, except for in albinism. Thus, it’s more of a fantasy color. In animals, it’s more frequent. Red eyes are often associated with courage, strength, ambition, and power. However, it’s also used to express rage and anger, a lust for revenge, and associated with dark intentions and evil.

Depending on what you want to use it for, the following terms can be used for red eyes:

Violet Eyes

Purple or violet eyes are extremely (!) rare. Thus, they fit more into a fantasy context – or if your character is using contacts. A very sophisticated and spiritual color, characters with violet eyes are often associated with royalty and riches, or divination and clairvoyance. Since it’s a very powerful color, this eye color is often used for leaders, royals, or oracles, and witches.

The following terms can be used for eyes of this color:

• ultramarine

Usually, white eyes are considered blind. A character’s eyes turn white or are white if they are not able to see out of them (or one of them) anymore. The limitation here, however, is only measured by your creativity.

Instead of “white”, you can also use these terms:

Yellow Eyes

In animals, a yellow eye-color is quite common. Consider cats, dogs, predator birds, snakes, and the like. Thus, characters with yellow eyes are often associated or compared to a certain animal, taking over their features or characteristics.

There are a few nice term you can use to describe yellow eyes:

Heterochromia

Of course, you have the option to give your characters two differently colored eyes. While this occurs in the natural world, heterochromia is still rare in humans. It can be used to express a duality in a person’s character. Often, these characters are seen as especially significant, mystical, magical, supernatural, or simply special.

Search for creative inspiration

19,890 quotes, descriptions and writing prompts, 4,964 themes

eyes - quotes and descriptions to inspire creative writing

• light brown eyes
• light green eyes
• look and appearance
• whites of eyes

When the bond of love is made, my eyes give free passage to my soul.

Eyes that love you will catch your soul, even if you weren't aware of its falling.

Eyes will tell the truth whatever society permits.

I listen to eyes because they speak so much truth.

Eyes speak in emotion, the language of the soul.

From those eyes came a sense of home.

In the eyes is the "I' - the inborn soul of the baby heaven-given.

She reached out with her eyes has honestly as a babe reaches with open arms.

Even in the night his eyes lit the way, he was a seer, of that we were sure.

The eyes come as perfect flower buds freshly opened in the dawn.

Eyes that see are the greatest blessing, for they are as orbs that shine lights and make even the realisation of what healing must happen... possible.

In this early dawn your eyes are the dew, scattering the nascent rays, ever illuminating my soul.

They say the eyes are windows, the thing is, my love, I can see through them. I can see your pain and your gentleness just the same. I see how every emotion comes together to form the art of your soul. It forms a picture I see in an instant and comprehend with full depth. So, I see you, I do. When I say that your eyes are beautiful, its the truth, for it's not about colours or shape, it's about the loving sweet essence that is so clearly there.

He had eyes as open and honest as any child, a warmth and safety. In that moment I found my home, my place to find company when the cold winds blew.

He squinted at me through hardened eyes that once had been my salvation, but now they brought only the unfounded accusations of a jealous lover. Their color had only yesterday reminded me of my sea-port home, gazing out to where the blue of the ocean blended into the blue of the sky, now they were simply chilling. Every muscle in his face was tense and without a word he communicated intense mistrust, anger, despising. Now he stood between me and the only exit, glaring, seething, clenching his fists rhythmically...

Her eyes have frozen over like the surface of a winter puddle, robbing them of their usual warmth. She's in there, I know it, but it's like she just took a huge step back from life. I want to reach in and tell her it isn't hopeless, but she won't believe me. I want to rekindle her heat but her insides are too damp with uncried tears. I always knew she had pain inside, but now its visible on her face and I wish it would go away. I know that's a selfish want, people have a right to their pain, they don't ask for it - it just arrives like the gift you never wanted.

She looks at me like the fire in her eyes has been dowsed with ice water, if anything it makes the blue more pale. I'm not used to it, it unnerves me. I want her to give freely like she always does but she won't. It's like she just crawled right back inside some invisible shell and no matter how hard I try she's unreachable. She moves her eyes more slowly, like they're heavy, an effort to move. I want to crack my usual jokes but I know she won't laugh. I'm standing right next to her but she might as well be on the moon.

In her renewed silence, only her eyes glow. They aren't yellow like a comic book cat, but the softest of blue - like they soaked in the spring sky only hours ago and are now letting it radiate out gently into the twilight.

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25 Best Words to Describe Blue Eyes

Describing someone’s eye colour is a great way to set up a character in a story or talk about them romantically. This article will explore how to describe blue eyes in creative writing (or in your own words) to show just how much you appreciate someone’s eyes.

The best words to describe blue eyes are “icy,” “electric,” and “sparkling.” These words are perfect because they show that you appreciate and admire the colouring of someone’s eyes. They all come with “blue” vibes, allowing you to be more descriptive without needing the colour.

“Icy” shows that someone has depth to their eyes due to the blue colour. It usually allows you to feel the same things they feel or find a way to read them by looking at them.

“Icy” could also be used negatively to show that someone has an “icy” personality and doesn’t let people get close to them.

• Her icy blue eyes were her best feature. That’s what everyone would get caught up in.
• I love your icy blue eyes. Has anyone told you how beautiful they are to look at?

2. Electric

“Electric” is a great adjective to refer to someone with a beautiful pigment in their blue eyes. It relates to electricity being blue in certain spectrums, which is often a beautiful thing to look at. The same is implied when referring to blue eyes.

• You have such electric blue eyes. I wish I was able to stare into them forever.
• I think she has the most electric eyes I’ve ever seen. Nobody can come close to topping that sensation.

3. Sparkling

“Sparkling” is a great adjective to use to compliment someone’s blue eyes. It shows that they seem to “sparkle” like a star or anything else that glows and shines. It’s a really positive way to compliment someone.

• Your sparkling blue eyes are everything I could ever ask for. I think they’re the most beautiful things in the world.
• You have such sparkling eyes. I find it impossible to look away from them.

4. Ocean-Blue

“Ocean-blue” shows depth and admiration towards someone’s eye colour. It works well when you want to relate their eyes to the colour of the ocean (which is one of the nicest shades of blue).

• My ocean-blue eyes get a lot of compliments. I had no idea they were so pretty.
• Have you seen her ocean-blue eyes? They’re amazing to look into. You can hear your own thoughts.

5. Piercing

“Piercing” works well when looking at someone and feeling them “pierce” your soul. It’s a positive way to show that you find them striking and interesting based entirely on the colour of their eyes.

• She has such piercing eyes. My only wish is that I could look into them all day.
• I think you have such piercing eyes. It’s like you’re looking directly into my soul at all times.

“Pale” is a negative adjective showing that someone doesn’t have a lot of emotion or beauty in their eyes. It works best for blue eyes because it relates to them having no powerful colouring in the blue of their eyes, thus having no personality to match.

• Her pale blue eyes made it hard for me to read her. She wasn’t expressing a lot of emotion.
• He has pale blue eyes, making it hard to understand what he’s thinking. I don’t get him.

7. Fascinating

“Fascinating” is a great word to use when you are taken aback by someone’s eyes, especially if they are blue (or green). It shows that you are fascinated by someone’s looks. It’s a great compliment to use when you’re trying to be romantic and forward.

• You have such fascinating eyes. I only wish that you could look into mine more often.
• I think you have beautiful and fascinating eyes. I can learn so much from them.

“Angelic” is a great way to liken someone to a biblical angel. “Angels” are said to be the most beautiful beings in the world, so complimenting someone’s eyes by saying “angelic” is like saying they are one of the most beautiful people to look at.

It’s a great adjective to use because it’s going to flatter almost anyone you say it to.

• Your angelic eyes mean everything to me. I wish I could stare into them all day long.
• She has angelic eyes. If you look into them, you’re going to fall into a trance.

9. Mesmerizing

“Mesmerizing” implies that you can get lost in someone’s blue eyes. It means you might end up in a trance while looking at them because you cannot look away. This is a complimentary way to show someone that you love how their eyes look.

• Her mesmerizing eyes are easy to get lost in. Be careful staring for too long. It could get tricky.
• I think she has the most mesmerizing eyes I’ve ever seen. I don’t know where else to look.

10. Intoxicating

“Intoxicating” shows that you feel a bit drunk or loopy when looking into someone ’s eyes. This works well when you don’t know what else to say because you are lost in someone’s beauty or brilliantly blue eyes.

• You have intoxicating eyes. Has anyone ever told you that? I can’t look away for a second.
• He has this intoxicating look about him that comes with his magnetic blue eyes.

11. Alluring

“Alluring” shows that you can fall in love with someone simply because of the colour of their eyes. Any eye colour can be “alluring” as long as you find the person attractive when looking at their eyes.

• Your alluring eyes are your best asset. You’ve got to start using them to your advantage now.
• You have alluring eyes. I wish mine could be like that. They look so incredible.

12. Dazzling

“Dazzling” is great to use if you can’t figure out what else to say because someone’s taken your breath away. This shows that you are “dazzled” by someone’s eyes and would love to see them more often.

• Your dazzling blue eyes are the most beautiful things I’ve ever seen. I’m sure you hear that a lot.
• Sarah’s dazzling eyes were enough to take my breath away. She’s the perfect person to be around.

13. Lustrous

“Lustrous” is a great way to refer to the colour of someone’s eyes. It shows that you are blown away by the colour, depth, or beauty of the blue eyes you can see before you. It’s great to compliment someone, especially in a romantic sense.

• You have lustrous eyes, and you mean everything to me. I hope you realize that.
• Her lustrous eyes make it hard for me to turn away. I don’t know where else to look.

14. Brilliant

“Brilliant” is one of the most common adjectives for blue eyes because people like the alliteration of the “B” letter. It works well to show that you think someone has beautiful eyes, or you can easily get lost in them.

• I think you have brilliant blue eyes. If I could look into them all day, I would. I’m telling you that now.
• She has the most brilliant eyes I’ve ever seen. Nobody’s eyes are quite as glamorous as hers.

15. Beautiful

“Beautiful” might seem like a simple adjective, but it’s still a great choice for complimenting blue eyes. Alliteration comes into play again here, allowing you to repeat the “B” letter to show that you appreciate the look of someone’s beautiful blue eyes.

• You have such beautiful blue eyes. I wonder who you got them from!
• His beautiful blue eyes really contrast his mighty brown hair. I love looking into them.

16. Blindingly

“Blindingly” is another great choice that uses alliteration to its advantage. It works well because it shows that you are taken aback by the amazing colour of someone’s eyes.

• You have blindingly blue eyes. I almost don’t know where to look because I’m worried I won’t see them!
• Her blindingly blue eyes are a sight to see. You should behold them at least once.

“Cold” is a more negative word to use. It shows that you don’t like looking into someone’s blue eyes because they seem soulless or emotionless. You often won’t be able to tell much about someone’s expressions or feelings when they have “cold” eyes.

• You have cold eyes. I don’t know how to read them, and I don’t know if I want to try.
• She has such cold eyes. It makes her seem so angry most of the time. I hate that about her.

18. Magnetic

“Magnetic” shows that you are attracted to someone because of their brilliant blue eyes. It relates to the “magnetic” attraction you might get when you can’t help looking into someone’s eyes and falling in love with them.

• Your blue eyes are so magnetic. It’s like they beckon me in, and I can’t help but stare at them.
• You have such magnetic eyes. Everything about them is so perfect. I can’t look away.

19. Sympathetic

“Sympathetic” can apply to many eye colours. It implies that you can see caring and kind thoughts in someone’s blue eyes. It works well here if you are able to read someone’s eyes and know exactly what they might be thinking about.

• Her sympathetic eyes can tell a story. She doesn’t even need to say anything. She’s perfect.
• It’s all because of his sympathetic blue eyes. He’s got this look that makes it impossible to look away.

20. Telling

“Telling” is another great way to show that you can read someone’s eyes and figure out their thoughts. It’s great to include when you can see what someone is thinking because of the emotion and beauty in their eyes.

• Your blue eyes are very telling. They show me exactly what you’re thinking at all times.
• Your eyes are so telling because of how beautiful they are. Has anyone ever told you that?

21. Truthful

“Truthful” is a great word to use in this context. It shows you can see the “truth” in someone’s blue eyes. If you can gaze into someone’s eyes and work out what they’re thinking, you can figure out their “truth.”

• You have such truthful eyes. I feel like I can tell you everything, and you’ll never betray me.
• Stop having such truthful eyes! I think they’re so easy to lose myself in. I can’t quite believe it.

22. Expressive

“Expressive” shows that you can tell a lot about someone just by looking into their eyes. It’s a great way to show that you love looking at them because of the beauty you can see when you are face-to-face.

• You have very expressive eyes. It’s clear to see what you think before you’ve even spoken.
• I think she has very expressive eyes. That’s one of the things I love most about her.

“Kind” is a simple adjective, but it works well here. You can have “kind” blue eyes, meaning that someone can easily trust you because of the look you have in your eyes. It’s good to include this to show that someone is caring.

• Your kind blue eyes mean everything to me. I hope I never lose them from my life.
• You have very kind eyes, and I love that. I hope we get a chance to come across each other again.

24. Amazing

“Amazing” is a simple and complimentary way to refer to someone’s eye colour. It shows that you appreciate the colour of their eyes and think they are “amazing” to look into.

• She had amazing eyes, but I worry I’ll never see them again! I didn’t even ask her for her name.
• You have amazing eyes. I’m sure you always hear that, but it’s the truth.

25. Perfect

“Perfect” is another simple adjective showing how much you appreciate the colour of someone’s eyes. You should use this to show that you could get lost in the perfection of someone’s eyes because of the colour or appearance.

• Your blue eyes are perfect in every sense of the word. I hope you can see that yourself.
• You look beautiful. You have such perfect eyes. Never let anyone tell you differently.

Martin holds a Master’s degree in Finance and International Business. He has six years of experience in professional communication with clients, executives, and colleagues. Furthermore, he has teaching experience from Aarhus University. Martin has been featured as an expert in communication and teaching on Forbes and Shopify. Read more about Martin here .

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A Guide to Descriptive Writing

by Melissa Donovan | Jan 7, 2021 | Creative Writing | 8 comments

What is descriptive writing?

Writing description is a necessary skill for most writers. Whether we’re writing an essay, a story, or a poem, we usually reach a point where we need to describe something. In fiction, we describe settings and characters. In poetry, we describe scenes, experiences, and emotions. In creative nonfiction, we describe reality. Descriptive writing is especially important for speculative fiction writers and poets. If you’ve created a fantasy world, then you’ll need to deftly describe it to readers; Lewis Carroll not only described Wonderland  (aff link); he also described the fantastical creatures that inhabited it.

But many writers are challenged by description writing, and many readers find it boring to read — when it’s not crafted skillfully.

However, I think it’s safe to say that technology has spoiled us. Thanks to photos and videos, we’ve become increasingly visual, which means it’s getting harder to use words to describe something, especially if it only exists in our imaginations.

What is Descriptive Writing?

One might say that descriptive writing is the art of painting a picture with words. But descriptive writing goes beyond visuals. Descriptive writing hits all the senses; we describe how things look, sound, smell, taste, and feel (their tactile quality).

The term descriptive writing can mean a few different things:

• The act of writing description ( I’m doing some descriptive writing ).
• A descriptive essay is short-form prose that is meant to describe something in detail; it can describe a person, place, event, object, or anything else.
• Description as part of a larger work: This is the most common kind of descriptive writing. It is usually a sentence or paragraph (sometimes multiple paragraphs) that provide description, usually to help the reader visualize what’s happening, where it’s happening, or how it’s happening. It’s most commonly used to describe a setting or a character. An example would be a section of text within a novel that establishes the setting by describing a room or a passage that introduces a character with a physical description.
• Writing that is descriptive (or vivid) — an author’s style: Some authors weave description throughout their prose and verse, interspersing it through the dialogue and action. It’s a style of writing that imparts description without using large blocks of text that are explicitly focused on description.
• Description is integral in poetry writing. Poetry emphasizes imagery, and imagery is rendered in writing via description, so descriptive writing is a crucial skill for most poets.

Depending on what you write, you’ve probably experimented with one of more of these types of descriptive writing, maybe all of them.

Can you think of any other types of descriptive writing that aren’t listed here?

How Much Description is Too Much?

Classic literature was dense with description whereas modern literature usually keeps description to a minimum.

Compare the elaborate descriptions in J.R.R. Tolkien’s  Lord of the Rings  trilogy  with the descriptions in J.K. Rowling’s  Harry Potter series  (aff links). Both series relied on description to help readers visualize an imagined, fantastical world, but Rowling did not use her precious writing space to describe standard settings whereas Tolkien frequently paused all action and spent pages describing a single landscape.

This isn’t unique to Tolkien and Rowling; if you compare most literature from the beginning of of the 20th century and earlier to today’s written works, you’ll see that we just don’t dedicate much time and space to description anymore.

I think this radical change in how we approach description is directly tied to the wide availability of film, television, and photography. Let’s say you were living in the 19th century, writing a story about a tropical island for an audience of northern, urban readers. You would be fairly certain that most of your readers had never seen such an island and had no idea what it looked like. To give your audience a full sense of your story’s setting, you’d need pages of detail describing the lush jungle, sandy beaches, and warm waters.

Nowadays, we all know what a tropical island looks like, thanks to the wide availability of media. Even if you’ve never been to such an island, surely you’ve seen one on TV. This might explain why few books on the craft of writing address descriptive writing. The focus is usually on other elements, like language, character, plot, theme, and structure.

For contemporary writers, the trick is to make the description as precise and detailed as possible while keeping it to a minimum. Most readers want characters and action with just enough description so that they can imagine the story as it’s unfolding.

If you’ve ever encountered a story that paused to provide head-to-toe descriptions along with detailed backstories of every character upon their introduction into the narrative, you know just how grating description can be when executed poorly.

However, it’s worth noting that a skilled writer can roll out descriptions that are riveting to read. Sometimes they’re riveting because they’re integrated seamlessly with the action and dialogue; other times, the description is deftly crafted and engaging on its own. In fact, an expert descriptive writer can keep readers glued through multiple pages of description.

Descriptive Writing Tips

I’ve encountered descriptive writing so smooth and seamless that I easily visualized what was happening without even noticing that I was reading description. Some authors craft descriptions that are so lovely, I do notice — but in a good way. Some of them are so compelling that I pause to read them again.

On the other hand, poorly crafted descriptions can really impede a reader’s experience. Description doesn’t work if it’s unclear, verbose, or bland. Most readers prefer action and dialogue to lengthy descriptions, so while a paragraph here and there can certainly help readers better visualize what’s happening, pages and pages of description can increase the risk that they’ll set your work aside and never pick it up again. There are exceptions to every rule, so the real trick is to know when lengthy descriptions are warranted and when they’re just boring.

Here are some general tips for descriptive writing:

• Use distinct descriptions that stand out and are memorable. For example, don’t write that a character is five foot two with brown hair and blue eyes. Give the reader something to remember. Say the character is short with mousy hair and sky-blue eyes.
• Make description active: Consider the following description of a room: There was a bookshelf in the corner. A desk sat under the window. The walls were beige, and the floor was tiled. That’s boring. Try something like this: A massive oak desk sat below a large picture window and beside a shelf overflowing with books. Hardcovers, paperbacks, and binders were piled on the dingy tiled floor in messy stacks.  In the second example, words like  overflowing  and  piled are active.
• Weave description through the narrative: Sometimes a character enters a room and looks around, so the narrative needs to pause to describe what the character sees. Other times, description can be threaded through the narrative. For example, instead of pausing to describe a character, engage that character in dialogue with another character. Use the characters’ thoughts and the dialogue tags to reveal description: He stared at her flowing, auburn curls, which reminded him of his mother’s hair. “Where were you?” he asked, shifting his green eyes across the restaurant to where a customer was hassling one of the servers.

Simple descriptions are surprisingly easy to execute. All you have to do is look at something (or imagine it) and write what you see. But well-crafted descriptions require writers to pay diligence to word choice, to describe only those elements that are most important, and to use engaging language to paint a picture in the reader’s mind. Instead of spending several sentences describing a character’s height, weight, age, hair color, eye color, and clothing, a few, choice details will often render a more vivid image for the reader: Red hair framed her round, freckled face like a spray of flames. This only reveals three descriptive details: red hair, a round face, and freckles. Yet it paints more vivid picture than a statistical head-to-toe rundown:  She was five foot three and no more than a hundred and ten pounds with red hair, blue eyes, and a round, freckled face.

10 descriptive writing practices.

How to Practice Writing Description

Here are some descriptive writing activities that will inspire you while providing opportunities to practice writing description. If you don’t have much experience with descriptive writing, you may find that your first few attempts are flat and boring. If you can’t keep readers engaged, they’ll wander off. Work at crafting descriptions that are compelling and mesmerizing.

• Go to one of your favorite spots and write a description of the setting: it could be your bedroom, a favorite coffee shop, or a local park. Leave people, dialogue, and action out of it. Just focus on explaining what the space looks like.
• Who is your favorite character from the movies? Describe the character from head to toe. Show the reader not only what the character looks like, but also how the character acts. Do this without including action or dialogue. Remember: description only!
• Forty years ago we didn’t have cell phones or the internet. Now we have cell phones that can access the internet. Think of a device or gadget that we’ll have forty years from now and describe it.
• Since modern fiction is light on description, many young and new writers often fail to include details, even when the reader needs them. Go through one of your writing projects and make sure elements that readers may not be familiar with are adequately described.
• Sometimes in a narrative, a little description provides respite from all the action and dialogue. Make a list of things from a story you’re working on (gadgets, characters, settings, etc.), and for each one, write a short description of no more than a hundred words.
• As mentioned, Tolkien often spent pages describing a single landscape. Choose one of your favorite pieces of classic literature, find a long passage of description, and rewrite it. Try to cut the descriptive word count in half.
• When you read a book, use a highlighter to mark sentences and paragraphs that contain description. Don’t highlight every adjective and adverb. Look for longer passages that are dedicated to description.
• Write a description for a child. Choose something reasonably difficult, like the solar system. How do you describe it in such a way that a child understands how he or she fits into it?
• Most writers dream of someday writing a book. Describe your book cover.
• Write a one-page description of yourself.

If you have any descriptive writing practices to add to this list, feel free to share them in the comments.

Descriptive Writing

Does descriptive writing come easily to you, or do you struggle with it? Do you put much thought into how you write description? What types of descriptive writing have you tackled — descriptive essays, blocks of description within larger texts, or descriptions woven throughout a narrative? Share your tips for descriptive writing by leaving a comment, and keep writing!

Further Reading: Abolish the Adverbs , Making the Right Word Choices for Better Writing , and Writing Description in Fiction .

I find descriptions easier when first beginning a scene. Other ones I struggle with. Yes, intertwining them with dialogue does help a lot.

I have the opposite experience. I tend to dive right into action and dialogue when I first start a scene.

I came across this article at just the right time. I am just starting to write a short story. This will change the way I describe characters in my story.

Thank you for this. R.G. Ramsey

You’re welcome!

Great tips and how to practise and improve our descriptive writing skills. Thank you for sharing.

You’re welcome, Bella.

Hello Melissa

I have read many of your articles about different aspects of writing and have enjoyed all of them. What you said here, I agree with, with the exception of #7. That is one point that I dispute and don’t understand the reason why anyone would do this, though I’ve seen books that had things like that done to them.

To me, a book is something to be treasured, loved and taken care of. It deserves my respect because I’m sure the author poured their heart and soul into its creation. Marking it up that way is nothing short of defacing it. A book or story is a form of art, so should a person mark over a picture by Rembrandt or any other famous painter? You’re a very talented author, so why would you want someone to mark through the words you had spent considerable time and effort agonizing over, while searching for the best words to convey your thoughts?

If I want to remember some section or point the author is making, then I’ll take a pen and paper and record the page number and perhaps the first few words of that particular section. I’ve found that writing a note this way helps me remember it better. This is then placed inside the cover for future reference. If someone did what you’ve suggested to a book of mine, I’d be madder than a ‘wet hen’, and that person would certainly be told what I thought of them.

In any of the previous articles you’ve written, you’ve brought up some excellent points which I’ve tried to incorporate in my writing. Keep up the good work as I know your efforts have helped me, and I’m sure other authors as well.

Hi Stanley. Thanks so much for sharing your point of view. I appreciate and value it.

Marking up a book is a common practice, especially in academia. Putting notes in margins, underlining, highlighting, and tagging pages with bookmarks is standard. Personally, I mark up nonfiction paperbacks, but I never mark up fiction paperbacks or any hardcovers (not since college).

I completely respect your right to keep your books in pristine condition. And years ago, when I started college, I felt exactly the same way. I was horrified that people (instructors and professors!) would fill their books with ugly yellow highlighting and other markips. But I quickly realized that this was shortsighted.

Consider an old paperback that is worn and dog-eared. With one look, you know this book has been read many times and it’s probably loved. It’s like the Velveteen Rabbit of books. I see markups as the same — that someone was engaging with the book and trying to understand it on a deeper level, which is not disrespectful. It’s something to be celebrated.

Sometimes we place too much value on the book as a physical object rather than what’s inside. I appreciate a beautiful book as much as anyone but what really matters to me is the information or experience that it contains. I often read on a Kindle. Sometimes I listen to audio books. There is no physical book. The experience is not lessened.

I understand where you’re coming from. I used to feel the same way, but my mind was changed. I’m not trying to change yours, but I hope you’ll understand.

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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.

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Undergraduate Course Descriptions Fall 2024

Creative writing, encw 2300 poetry writing (7 sections).

An introductory course in poetry writing, with a primary focus on creating new poems in a workshop setting. Students will study basic poetic terms and techniques and revise and arrange a series of poems for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements.

ENCW 2600 Fiction Writing (6 sections)

An introductory course in fiction writing, with a primary focus on creating short stories in a workshop setting. Students will study basic narrative terms and techniques and revise several short stories for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements.

ENCW 3310-001: Intermediate Poetry Writing I - Virginia (For Poets)

In this intermediate poetry workshop, we’ll explore our intellectual & artistic connections to place, specifically to UVA & the Commonwealth of Virginia. We’ll read recent published works of poetry (+ a little lyric prose!) by writers with ties to the University, Charlottesville, & the region. We’ll also think about & explore the physical space of Grounds as a site for reading, writing, researching, & sharing poems. Students in this course will engage in a regular writing practice and will take seriously the processes of composition, critique, and revision. We’ll spend a significant portion of each class “workshopping” student poems, but we also will devote time to discussing assigned reading and to performing in-class writing exercises. These activities, plus attendance, participation, & a final portfolio, will inform the grading policy.

To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any majors, minors, or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer, but hopefully much sooner.

ENCW 3310-002: Intermediate Poetry Writing I

Encw 3350-001: intermediate nonfiction.

Creative nonfiction invites us to activate our curiosity, examine the texture of our lives, uncover meaning in the chaos of experience, question reality, cultivate empathy and become braver thinkers. Expect to create original work in this class, to receive feedback and to read and discuss essays, memoir, literary journalism, imaginative biography and other forms.

This workshop is for students with some experience of creative writing who have already taken 2000 level ENCW classes. 

Admission by Instructor Permission. Please send a sample of your prose writing (around 5 pages) and a brief statement about why this course interests you to [email protected] . Writing sample not required for APLP and APPW students.

ENCW 3559-001: Hybrid Narratives

Encw 3559-002: audio storytelling, encw 3559-003: storytelling and performance prose.

This oral storytelling course is for students with experience of writing creatively who are interested in writing fiction and other texts to be spoken aloud, embodied and shared with others in real time. Over the semester you will develop original stories, work on putting them ‘up on their feet’ in performance and explore how liveness and orality can challenge, shape and invigorate writing. We will touch upon the oral roots of literature, reading works such as the 1001 Nights and the stories collected by the Brothers Grimm and the texts they have inspired, and we will read, watch and discuss works of fiction, live-art, narrative comedy, spoken word and drama. You may be a fiction writer interested in how spoken stories could attune your ear for language and narrative pattern, or writer and performer interested in marrying those two passions. Performance experience is not a requirement for this class, but a willingness to explore performance in a supportive atmosphere is essential. 

ENCW 3610-001: Intermediate Fiction Writing

Encw 3610-002: intermediate fiction writing, encw 4550-001: post-apocalyptic narratives, encw 4810-001: advanced fiction writing i.

Admission by Instructor Permission. Please send a sample of your prose writing (around 5 pages) and a brief statement about why this course interests you to [email protected] .

ENCW 4820-001: Poetry Program Poetics

Encw 4830-001: advanced poetry writing i.

[To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any majors, minors, or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Professor Petrosino will consult with Professor Dungy on permissions. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer.] 

ENCW 5310-001: Advanced Poetry Writing II - Poets' Memoirs

In this advanced course, we'll explore several published memoirs by contemporary poets, reading them alongside their books of poetry. Through discussion, workshop, writing exercises & other coursework, we'll attempt to imagine our way through several related questions: how do poets approach the forms & possibilities of memoir? How might a "poet's memoir" work within & against the constraints or expectations of autobiographical writing?  How does what we think of as a poet's "voice" shift & change when their writing encompasses both verse and prose? And what new connections--among emotions, narratives, mysteries, & astonishments--can we make in our own writing practice, once we witness how poets work across genres? This class will engage a combination of seminar & workshop-style techniques. For a final project, students will compose & revise a group of original poems alongside one or more works of original lyric prose (short essays, memoir, &c). This class is open to graduate & undergraduate students via instructor permission.      

To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any programs or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer, but hopefully much sooner.

ENCW 5610-001: Advanced Fiction Writing II - Ekphrastic Prose Writing

English literature, engl 2500-001: intro to literary studies, engl 2500-002: intro to literary studies, engl 2502-001: four centuries, four texts, four genres.

We will read devote our time together to studying four great masterpieces, works produced over the last four centuries, each in a different genre: a play (William Shakespeare’s King Lear, first staged in 1606); a novel (Jane Austen’s Emma, published in 1816); a poem (T. S. Eliot’s The Waste Land, published in 1922); and a film (Arthur C. Clarke and Stanley Kubrick’s 2001: A Space Odyssey, issued in 1968). We will consider each of these works slowly and carefully. We will also use them as case studies for exploring the strategies that scholars in the disciplines of literature and film criticism have developed to achieve rich understandings of their objects of study. These will include (among other strategies) close reading, source study, comparison of variant editions, and historical contextualization. Our objective is to emerge at the end of the semester with expertise in these four works, and with experience in using different critical strategies to analyze other works in these genres. Requirements: four writing exercises, class participation, final examination

This course serves as a prerequisite for students who wish to major in English. This course also fulfills the College’s second writing requirement.

ENGL 2502-002: Jane Austen Jumps the Shark

Engl 2506-001: introduction to poetry.

How does a written poem on a page—its lines now taken out of their historical contexts, its author no longer around to ask, its time past—manage to mean anything at all when spoken aloud? How do words work, anyway (because, after all, they do work)? This course centers on patient, close reading of poems of the twentieth century, and what’s in them for us in the twenty-first century, by Robert Frost, Elizabeth Bishop, Wallace Stevens, and others. This course satisfies the second writing requirement.

ENGL 2506-003: Contemporary Poetry

In this seminar, we will examine an array of postwar idioms, forms, and movements. While devoting much of our attention to some of the most influential poetry from the second half of the twentieth century, we will also bring ourselves up to date by examining some of the best poems published in recent years by poets of diverse backgrounds. To hone our attention, we will focus on several specific genres, forms, or kinds of poetry, including sonnets, elegies, and poems about the visual arts. The seminar will emphasize the development of skills of close reading, critical thinking, and imaginative, knowledgeable writing about poetry.

ENGL 2506-002: Introduction to Renaissance Poetry

What is poetry? What sets it apart from other modes of writing, thinking, imagining, feeling? What are the distinctive tools at the poet’s disposal? How do these tools work, and how can we describe their workings? Should poetry be plain or intricate, delightful or didactic, passionate or rational, heavenly or human? In this course, we will explore the many Renaissance responses to these questions by reading a selection of sixteenth- and seventeenth-century verse. We will inspect a range of poetic styles and genres, beginning with sonnets by Philip Sidney, William Shakespeare, John Donne, and Mary Wroth. Other poets will include Ben Jonson, Robert Herrick, John Milton, Katherine Philips, Richard Lovelace, Abraham Cowley, and Andrew Marvell. We will move slowly at first, sometimes reading only one poem per class, and will work together to develop the interpretive skills to unpack a poem. This course also aims to help you sharpen your skills as a writer; we will focus in particular on close reading and on logical organization. The first written assignment will be a bulleted list of observations about a sonnet that you will then transform into a structured close reading paper. You will have the opportunity to revise the first paper based on feedback from your instructor and your classmates.

No prior knowledge of poetry, meter, or rhyme is expected. Lovers and despisers of poetry are equally welcome. The only prerequisite is a willingness to read with the utmost attention—and a dictionary.

ENGL 2507-001: Identity, Race, and Religion in Renaissance Drama

How can Hamlet  help us understand the sources of modern beliefs about identity and individuality? What can we learn from Othello  and The Merchant of Venice  about Renaissance understandings of race and religion? In this introduction to the study of dramatic literature, we will study the theater of the English Renaissance in order to help us understand where our modern ideas about identity come from. We live in an era marked by fierce debates about race, religion, nationalism, gender, and sexuality, but these topics were equally pressing (though in different ways) to authors such as Shakespeare and Marlowe, and to their audiences. Our goal is to step outside of ourselves and engage in imaginative time travel, so that we may understand how race, religion, and identity were and are culturally constructed, both in their time, and in our own. As we read, we will ask ourselves:  How do dramatic texts destabilize our understandings of identity categories such as race, religion, and gender? What makes drama distinct in this regard from poetry, or prose? How does theater enable competing interpretations, such that marginalized characters can question orthodoxies and push against dominant narratives? As values and social norms change over time, how have scholars, directors, actors, and other artists responded to, reclaimed, and reinterpreted dramatic texts that contain historical, context-specific manifestations of racism and other prejudices? Throughout the course, we will grapple with these questions and with many others that enable us to consider the value of turning to early modern dramatic texts to understand divergent, complex ideas about selfhood and identity. 

ENGL 2508-003: Nineteenth-Century Speculative Fiction

The nineteenth century was an age of lively experimentation in narrative fiction. In this course we will read a range of texts that depart from conventional realism: Gothic tales, science fiction, stories of ghosts and the supernatural. Likely authors include Mary Shelley, Elizabeth Gaskell, George Eliot, Sheridan Le Fanu, Vernon Lee, Bram Stoker, and H. G. Wells. Like all ENGL 2500 classes, this course is designed to help you read closely, think creatively, and write lucidly about literary and other texts. It fulfills the Second Writing Requirement and counts towards the fulfillment of the Artistic, Interpretive, and Philosophical Inquiry requirement.

ENGL 2508-001: Medical Narratives

This course is designed for prospective English majors as well as students who may one day enter a medical field—and should appeal to all students who love short stories. It explores the history of the American short story from the nineteenth century through our own by focusing specifically on medical themes: ailing and injured bodies and minds; doctors, nurses, and patients; the social construction of disease and madness as well as of health and sanity. It is widely acknowledged today in various fields of medical research and clinical training that the effective and humane practice of medicine requires what has been called “narrative competence”: the ability to recognize and interpret the stories people tell; to attend closely to the details that accumulate to make a larger meaning; to evaluate contradictory and competing hypotheses about meaning; to locate expression within cultural context; and finally to appreciate and respond to any given story for its insight into the human condition. But if these skills are in demand within the medical fields, they also shape the practice of the English major. We will discuss classic stories as well as the work of recent writers.

ENGL 2508-002: The Dystopian Novel

“We live in difficult times, in times of monstrous chimeras and evil dreams and criminal follies,” Joseph Conrad writes, casting the modern era as a bleak one.  This course will survey the genre of dystopian novels.  Dystopias offer apocalyptic visions; they summon aesthetics of disease, speculation, pessimism, horror, and dysfunction to warn against seeing modern developments as benevolent.  In novels, dystopia often takes the form of political and science fiction.  A singular feature of this genre is its questioning of modern state forms, both totalitarian and democratic.  These works also ask us to think about how we live our increasingly technological lives. Do conditions of modern living such as of surveillance, conformity, comfort, militarism, mechanization, mobility, reproductive facticity, incarceration, medicalization, and scientificity lead to better futures? The dire worlds that dystopias imagine starkly suggest that they do not.  Instead, dystopian novels ask that readers contemplate, and even critique, the ethical cost of our acceptance of modern social conditions, the depletion of freedom, autonomy, and humanity.

The seminar will survey major works of dystopian fiction from the late-19thC onward.  Alongside such classics as Wells’  The Island of Dr. Moreau , Orwell’s  1984 , Aldous Huxley’s  Brave New World,  and Atwood’s  A Handmaid’s Tale , we may also read work by Octavia Butler, Kazuo Ishiguro, Ursula LeGuin, Cormac McCarthy, Ling Ma, and others.  Given our experience of the pandemic, we will pay particular attention to the spread of disease and how it is narrated.  The syllabus includes brief readings on utopia, science, satire, feminism, race, capitalism, and modernity.  We will also view a few films and consider other literary genres when relevant. 

ENGL 2599-001: Nature and Romanticism

Engl 2599-002: criticism in the first person.

In this course, we’ll discuss how we know what we know about aesthetic objects like literary texts. What are we claiming when we claim that a work is beautiful? To what extent is such a claim knowledge, and to what extent mere opinion? Our focus will be on the place of first-person experience—the I and what the I knows, sees, and feels--in our aesthetic judgments. We’ll spend about half our time learning to understand Stanley Cavell’s theory of what happens when we claim a work of art is beautiful, with a special focus on what role the first person has in such claims. We’ll spend the other half reading the work of various writers who use the first person prominently in their work. We’ll read critics practicing in the academy as well as critics working as reviewers in the periodical press. Writers we may read include Maggie Nelson, Christina Sharpe, Nathalie Léger, T. J. Clark, D. A. Miller, Elizabeth Hardwick, Cristina Rivera Garza, and others. Students should expect to do a lot of writing. Many assignments will be opportunities to write criticism as a form of creative nonfiction, in the first-person voice.

ENGL 2599-003: The World Wars in European Literature

The First and Second World Wars transformed European culture and challenged poets, novelists, and filmmakers. Why create art in a time a mass violence and upheaval? How could a film, poem, or literary narrative do justice to the raw experience of war? In this course, we will explore a diverse group of responses from authors in Britain, France, and Germany, ranging from the gritty realism of Remarque’s All Quiet on the Western Front to the elegant modernism of Woolf’s Mrs. Dalloway . We will pay equal attention to literary techniques and social identities, examining questions of gender, class, ethnicity, and disability in war literature. The seminar will emphasize close reading, active participation, and analytical writing. Requirements include three essays, an in-class presentation, and weekly discussion questions. Among our main texts will be poems by Wilfred Owen, Siegfried Sassoon, and Paul Celan; novels by Virginia Woolf, Erich Maria Remarque, and Irène Némirovsky; memoirs by Vera Brittain and Elie Wiesel; and films by Jean Renoir and Louis Malle.

ENGL 2599-004: Routes, Writing, Reggae

Engl 2599-005: literatures of the nonhuman.

This course explores ideas of the ‘nonhuman’ in literature. From John Keats’s address to autumn and Franz Kafka’s giant bug, Gregor Samsa, to imagining yourself into another species, ‘alien’ forms of life, and experiments with artificial intelligence, are human and nonhuman distinct categories? Where and how do they overlap, or even merge? The focus will be on developing strategies of close reading and introducing the basics of literary critical analysis through shorter forms in poetry and prose that examine the nonhuman across a range of genres from the nineteenth century to the present. No prior knowledge required. This course fulfills the Second Writing Requirement of 20+ pages of written work. Active class participation, reading responses, shorter pieces of writing, and a final essay.

ENGL 2599-006: Reading Ecology Across Genres

Engl 2599-007: protest literature, engl 2599-008: modern literature and the quest for self.

How does modern literature redefine subjectivity? What does it mean to perform the self? How do race, gender, and class complicate these questions? We will focus on short stories, poetry, and novels from the twentieth century. Authors will include Woolf, Plath, Sexton, Morrison, Heaney, and Berry among others.

ENGL 2599-009: Reading Toni Morrison

Engl 2599-010: diversity of voices in young adult narratives.

This course will survey and explore a range of literature from the 20th and 21st centuries written for or marketed to an adolescent audience. Readings will consist of short stories and novel-length works from multiple genres which will be contextualized within literary history and by critical scholarship.

ENGL 2599-100: Landscapes of Black Education

This course examines how seemingly ordinary spaces and places around us, “landscapes,” are involved in the struggle to democratize education in the United States. It uses the African American experience in this arena to anchor the exploration. We explore how landscape is implicated in the secret prehistory of Black education under enslavement; the promise of public education during Reconstruction; Booker T. Washington’s accommodation during early Jim Crow; black college campus rebellions of the 1920s; the impact of Brown v. Board of Education ; the rise of black studies programs at majority campuses in the 1960s and ‘70s; and the resonance of Jim Crow assumptions affecting education access in our current moment. We also touch on the experience of other marginalized groups. For example, women’s college campuses, such as those of Mount Holyoke and Smith College, were designed to discipline women to accept prescribed

gender roles at the height of the women’s suffrage movement. Armed with this background, on Saturday, Sept. 19, from 11:00 a.m. to 3:00 p.m., there will be a required field trip to the Jefferson School African American Heritage Center and its setting in downtown Charlottesville. This was the site of Charlottesville’s first public elementary and later high school for African Americans. Some of the materials we study include excerpts from the following: Frederick Douglass’ 1845 Narrative , Thomas Jefferson’s Notes on the State of Virginia , Booker T. Washington’s Up from Slavery , W. E. B. Du Bois’s Black Reconstruction in America , Raymond Wolters’ The New Negro on Campus , and James D. Anderson’s The Education of Blacks in the South . Films include Peter Gilbert's With All Deliberate Speed . We’ll explore interpreting historical and contemporary maps, plans, and other design- and planning-related materials to help develop the ability to interrogate landscapes critically. Graded assignments include two midterms, a team research project, a final team project symposium, and an individual critical reflection on the team project. There will be a number of informal in-class and take home exercises connected especially with developing skills in preparation for the midterms, field trip, and final project.

Downtown Charlottesville Field Trip, Saturday, Sept. 19, 11:00 a.m. to 3:00 p.m.

ENGL 3001-100: Hist of Lit in English I

Engl 3220-001: the seventeenth century.

In this course we will study a period marked by two big-name revolutions—the scientific revolution and the political revolution known as the English Civil War—but our task will be to examine the subtler currents of thought that ran beneath these epochal changes. We will focus in particular on vigorous seventeenth-century debates about the origins of knowledge and the purpose of liberty. Seventeenth-century writers put pressure on all the received ways of explaining the human mind, the natural world, and the political regime. They asked whether we should trust political customs, intellectual authorities, or even our own eyes and minds. They wondered whether goodness, greatness, and honor are meaningful ideas or fictions that had long impeded progress toward certain knowledge and secure peace. They debated about the primary aim of political life and what kinds of freedom are desirable and achievable. As we study political and philosophical prose by Francis Bacon, John Milton, and Thomas Hobbes in conversation with poems and plays by Shakespeare, Ben Jonson, John Donne, Robert Herrick, and Andrew Marvell (among others), we will practice reading with the utmost care—and a dictionary by our sides. Our aim will be not only to understand the complexities of these authors’ thought but also to draw out the rich particularities of their language.

ENGL 3271-100: Shakespeare: Comedies and Histories

A survey of the first half of Shakespeare’s dramatic career, focusing in particular on the comedies and history plays. Among the things we’ll be looking at: the intricate relations between desire, disguise and the transformation of identity in plays like The Comedy of Errors , A Midsummer Night’s Dream and As You Like It ; the ways in which various kinds of drama can simultaneously question and reaffirm the status quo; the representation of gender and agency on the comic stage; suggestive connections between comedy and tragedy in Romeo and Juliet ; comedy and history in Henry IV part I (and to a lesser extent in Henry V ); tragedy and history in Richard II ; the pressing of comedy to its limits in The Merchant of Venice and Measure for Measure . Lectures will remain attentive throughout to the power of the Shakespearean wordhoard and also to the relationship between play text and performance.

Course requirements: Regular attendance at lectures; regular attendance at (and lively participation in) discussion sections; two 6-7 page papers, midterm and final exams.

This course fulfills the pre-1700 requirement for the English major.

ENGL 3275-001: History of Drama I

The first third of this course will cover the drama of classical antiquity in translation, beginning with Greek plays by Aeschylus, Sophocles, Euripides, and Aristophanes, then moving from there to the Latin plays of Plautus, Terence, and Seneca.  The next third of the course will consider the kinds of performance that displaced (and in some cases transformed) these pagan traditions after the Christianization of the Roman empire; we will likely read a liturgical drama, a morality play, a saint play, some vernacular Biblical drama and a secular farce.  The final third of the course will cover plays from the Renaissance, focusing particularly on the commercial London stage of Christopher Marlowe and William Shakespeare.     

A major goal of the course will be to answer some of the questions posed by historical period: what does it mean, in the context of this particular genre, to move from antiquity to the Middle Ages to the Renaissance?  How seriously should we take the differences between paganism and Christianity?  What portion of early modern drama derives from classical antiquity, what portion from the Middle Ages, and what portion, if any, is new?  What does it mean to say that drama by the time of Shakespeare had been secularized?

ENGL 3310-001: Eighteenth-Century Women Writers

During the eighteenth century, social, economic, and technological developments in Britain converged to alter the ways in which texts were produced and consumed. The result of these innovations was a print culture that offered women the opportunity to step onto the public stage as professional authors for the first time. Female authors, nevertheless, remained intensely aware of their “delicate situation” within the literary public sphere. They responded to this situation by deploying a variety of authorial strategies that ingeniously combined self-promotion with self-protection in order to legitimize their appearance in print. This class will be particularly interested in examining the relationship between gender and genre in eighteenth-century Britain. Our readings will highlight a series of specific literary forms – drama, poetry, and the novel – each of which implicates gender in distinctive and compelling ways.

Class requirements include frequent discussion thread posts; in-class quizzes; two thesis-driven essays; a poetry annotation assignment; and a “blue book” essay-based final exam.

This course satisfies the 1700-1900 requirement.

ENGL 3380-001: The English Novel I: Run Runaway

Engl 3480-001: the way we live now: the novel in the nineteenth century.

“Novels are in the hands of us all,” wrote Anthony Trollope in 1870, “from the Prime Minister down to the last-appointed scullery maid. We have become a novel-reading nation.” Indeed, over the course of the nineteenth century the novel became the most popular—and profitable—literary genre in Great Britain. Its success was due to many factors, none perhaps more important than the extraordinary sophistication and emotional power with which novelists set out to portray (as the title of one of Trollope’s own novels puts it) “the way we live now.” More than ever before, novelists were committed to recording the visible world in all its abundant detail while also exploring the complex interior lives of individual women and men. They accomplished these feats, moreover, by way of gripping stories full of adventure, love (lust too), betrayal, mystery, and wonder. In this course we will immerse ourselves in a half-dozen or so of the finest examples of the genre, chosen from among such writers as Jane Austen, Charles Dickens, Charlotte Bronte, Emily Bronte, Elizabeth Gaskell, George Eliot, Margaret Oliphant, Thomas Hardy, and Trollope himself. Requirements will likely include bi-weekly email responses, two essays, a midterm, and final exam.

ENGL 3510-001: Feminist Chaucer

Engl 3540-001: romantic poetry, engl 3545-001: us lit and social justice, engl 3560-001: irish plays, movies, and tv, engl 3560-002: u.s. modernisms in word & image.

How does one write something that’s never been thought? Why would an author write in mixed or invented languages? How do visual images respond to written narratives (and vice-versa)? We will discuss a broad range of novels, short fiction, film, photography, and graphic arts composed between 1898 and 1945 and the historical, political, and cultural trends that they were responding to and participating in. This was an extraordinary and tumultuous period of demographic change, artistic invention, economic instability, racialized violence, and political contestation that witnessed mass immigration, migration, and emigration. In paying particular attention to trends of demographic displacement and change within and across national borders, we’ll consider the heady experiments in language and narrative that took place during the first half of the twentieth century. The historical events of this period—framed by the wars of 1898 and World War II—will provide context for the novels we read. 

Some of the broad questions that we’ll track throughout the term include the following. How do these authors define the “modern”? What, for that matter, is a “novel” in twentieth-century U.S. literature?  How did these authors participate (and resist) the process of defining who counted as an “American”? What role did expatriates and immigrants play in the “new” United States of the twentieth century? How did modernists narrate the past? How did trends in technology (mass production, cinema, transportation), science (relativity), and politics influence novelists’ roles within U.S. modernity? How did these authors reconcile the modernist imperative to “make it new” with the histories of the U.S. and the Americas?  What were the new languages of modernity?

ENGL 3570-001: Hemispheric Latinx Literature

Engl 3570-002: american wild.

This course will begin with a look at biblical antecedents and their influence on white colonists encountering landscapes inhabited by native people. From there we’ll move to the literature of westward exploration, and further encounters with indigenous populations and their lands, in selections from the journals of Jefferson-commissioned Lewis and Clark. Then it’s on to the mid-nineteenth pivot toward wildness in the eyes of Romantic beholders, foremost among them Henry David Thoreau, patron saint of the environmental movement. Next comes John Muir, whose vision of wilderness preservation begat the U.S. National Park System. Proceeding to the twentieth-century, we’ll add important voices, such as Aldo Leopold’s and Rachel Carson’s and Rebecca Solnit’s, as the preservation impulse merges with concern about public health and social justice. We’ll complete our tour in the twenty-first century by joining the intensifying conversation, along with Robert Bullard, Alice Walker, Linda Hogan, Carol Finney, Lauret Savoy, J. Drew Lanham, and Garnette Cadogan, about whether the visions of Thoreau, Muir, et al. are exclusively white and male.  

ENGL 3570-003: Narrative Experiment in Contemporary American Fiction: Graphic Novels, Eccentric Narrators, Alternative Histories, Magical Realities

Contemporary American fiction brims with surprises.  It’s not just that an unprecedent diversity of voices is generating a global literature centered upon U.S. territory, but also that this influx of the world’s energies has accelerated the modern and postmodern experimentation with new ways to tell a story.

In this course we will explore the possibilities generated by narrative innovation in a stunning group of contemporary fictions.  We’ll take up the booming genre of the graphic novel, in which the visual dimension bursts open the conventional boundaries of narrative fiction (in texts like Art Spiegelman’s MAUS, Thuy Bui’s The Best We Can Do, and Alison Bechdel’s Fun Home ).  We’ll read novels narrated by outrageous, elusive, sometimes magical voices (in texts like Junot Diaz’s The Brief, Wondrous Life of Oscar Wao , Karen Tei Yamashita’s Through the Arc of the Rain Forest, and Ruman Alaam’s Leave the World Behind). And we’ll consider novels that re-imagine ethnic American histories by means of inventive strategies: magical, multi-vocal, counterfactual, or speculative (in texts like Maxine Hong Kingston’s China Men, Louise Erdrich’s The Night Watchman, Michael Chabon’s The Yiddish Policemen’s Union, Philip Roth’s The Plot Against America, and Jocelyn Nicole Johnson’s “My Monticello”).

Requirements: devoted reading and active participation, multiple online postings, leading of class discussion (in pairs), a short and a long paper.

ENGL 3572-001: Black Protest Narrative

This course studies modern racial protest expressed through African American narrative art (fiction, autobiography, film) from the 1930s to 1980s, focusing on Civil Rights, Black Power, Black Panthers, womanism, and black gay/lesbian liberation movements, and black postmodernism. We explore the media, forms, and theories of modern protest movements, how they shaped and have been shaped by literature and film. What does it mean to lodge a protest in artistic form? Some themes include lynching, segregation, sharecropping, black communism, migration, urbanization, religion, crime and policing, normative and queer sexualities, war and military service, cross-racial coalitions, and the role of the individual in social change. Either directly or indirectly, all of these narratives ask pressing questions about the meaning of American citizenship and racial community under the conditions of racial segregation and the fight for integration or black nationalist autonomy. What does it mean to be “Negro” and American? How should African Americans conduct themselves on the world stage, and which international identifications are most productive? What roles do the press and popular media play in the sustenance and/or erosion of a sense of community both within a racial group and in relation to the country? What are the obligations of oppressed communities to the nation that oppresses them? What role should violence play in working toward liberation? How do intersectional subjectivities like gender, sexuality, religion, class, immigrant status, and color factor into ideologies and strategies of protest? We begin our study with the most famous protest novel, Richard Wright’s Native Son . Then we examine other narratives in this tradition, including works by Angelo Herndon, Ann Petry, James Baldwin, Martin Luther King, Jr., Gwendolyn Brooks, Malcolm X, Huey Newton and Bobby Seale, Audre Lorde, Alice Walker,

Joseph Beam, Marlon Riggs, and William Melvin Kelley. Films include Joseph Mankiewitz’s No Way Out , Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song and The Watermelon Man , and Marlon Riggs’ Tongues Untied . Written assignments include an in-class midterm, a take-home midterm, a final exam.

ENGL 3790-001: Moving On: Migration in/to US

“Moving On: Migration In/To the U.S.” examines the history of voluntary, coerced, and forced migration in the U.S. Students will trace changing attitudes about migration over time using a variety of cultural products, including videos, books, documentaries, poems, paintings, graphic novels, photographs, fashion, digital humanities, and academic scholarship. Class participation/contribution is the core of this class. Other assessments include reading responses, presentations, papers, and reflective essays. There will be one scheduled test. Students will be required to volunteer 5-10 hours with a migration-related project during the course of the semester.

ENGL 3825-001: Desktop Publishing

Engl 3915-001: point of view journalism.

This course examines the history and practice of “point-of-view” journalism, a controversial but credible alternative to the dominant model of “objectivity” on the part of the news media . Not to be confused with “fake news,” point-of-view journalism has a history as long as the nation’s, from Tom Paine and Benjamin Franklin in the eighteenth century to "muckrakers" like Ida B. Wells Barnett and Ida Tarbell at the end of the nineteenth, and “New Journalism” practitioners like Tom Wolfe, Hunter Thompson, and Barbara Ehrenreich in the twentieth. Twenty-first century point-of-view practitioners include news organizations on the right (Fox News, One America News Network) and left ( Vice , Jacobin , MSNBC, Democracy Now), as well as prominent voices like Ta-Nehisi Coates, Nikole Hannah-Jones, Rebecca Solnit, Jia Tolentino, and Roxane Gay. We will also consider the work of comedians such as Jon Stewart,  Steven Colbert, and John Oliver, who pillory the news (and newsmakers) in order to interpret them.

ENGL 3924-001: Vietnam War in Literature & Film

Engl 4270-001: shakespeare seminar, engl 4500-001: seven ages, seven questions or how to live, what to do.

The course emerges from Jaques’s speech in Shakespeare’s “As You Like It” on the seven ages of human life. We’ll consider childhood and education, erotic love, religion, warfare and courage in war, politics, the quest for wisdom, and old age.  Readings from, among others, Plato, Beauvoir, Freud, Wordsworth, Schopenhauer, and Marx.  Regular writing assignments and a long essay at the end.

ENGL 4500-002: Gothic Forms

Gothic literature burst onto the scene in the eighteenth century with ruined castles, ethereal music, brooding villains and surprisingly sturdy heroines, all performing as metaphors of our deepest fears and fiercest resistances. Throughout the nineteenth and twentieth centuries the gothic continued as a genre of cultural anxiety. This seminar will survey gothic literature through both history and genre: the classic novels, Horace Walpole’s The Castle of Otranto (1764), Matthew Lewis’s The Monk (1797), Mary Shelley’s Frankenstein (1818), Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde (1886), Shirley Jackson’s The Haunting of Hill House (1959), and Jane Austen’s Northanger Abbey (1818); 18thC German vampire poetry and poems by John Keats, Samuel Taylor Coleridge, Robert Browning, Christina Rossetti, and Sylvia Plath; the plays of Matthew Lewis and Richard Brinsley Peake; and the short stories of Edgar Allan Poe, Charlotte Perkins Gilman, W. W. Jacobs, Richard Matheson, and Stephen King. And we will ask ourselves: What are we afraid of? Active participation, a presentation , weekly short commentaries, one short paper (5-7pp), and one longer research paper (10-12pp).

ENGL 4520-001: House & Garden: Lanyer, Jonson, Marvell Go Cottagecore

Engl 4540-001: jane austen.

An intensive study of the work of Jane Austen. Take this course if you’re new to Austen or already a fan. Take it for Austen’s epigrammatic sentences and love stories, but also for her biting social commentary and (beneath the light, bright surface) her probing of the darker emotions. How do the novels treat such topics as family conflict, first impressions, sexual jealousy, women’s property rights, New World slavery, and the Napoleonic Wars? Why have Austen’s happy endings been accused of haste? In addition to exploring Austen’s formal strategies, thematic concerns, and engagement with the issues of her time, we will touch on her reception in subsequent eras, including a cinematic interpretation or two. Two papers and a final exam. This course satisfies the 1700-1900 requirement.

ENGL 4560-001: Modern Love and US Fiction

Engl 4560-002: contemporary poetry.

In this seminar, we will examine an array of postwar idioms, forms, and movements. While devoting much of our attention to some of the most influential poetry from the second half of the twentieth century, we will also bring ourselves up to date by examining some of the best poems published in recent years by poets of diverse backgrounds. To hone our attention, we will focus on several specific kinds of poetry, including sonnets, elegies, and poems about the visual arts. The seminar will emphasize the development of skills of close reading, critical thinking, and imaginative, knowledgeable writing about poetry.

ENGL 4560-003: Caribbean Sci-Fi and Fantasy

Engl 4560-004: visual fictions: photography and 20th/21st-century us literature.

The emergence of photography in the 19th and early 20th centuries participated in an extraordinary vitality in both visual and literary cultures of the time. The force of new kinds of images and icons was immediate and transformative. Photographs were used in a wide range of ways during this period, from multimedia art forms (collage) to new surveillance methods (mug shots and passport photos) to advertising, journalism, family and personal mementos, among others. This was also the era of mass movements of people (immigration and migration). This course will provide an introduction to the emergence of photography as a popular and artistic medium in the 20th century US, which we will put in dialogue with the literary and cultural movements of realism, modernism, postmodernism, and the as-yet unnamed contemporary. We’ll consider how word-based arts changed—primarily narrative prose and the novel form—in response to the visualities generated by photography.

ENGL 4561-001: Literature and Trauma

How is trauma narrated?  Does literature give wounds a voice that bears witness to injury?  Can imaginative works convey intense personal and collective suffering?  Or is language itself an impediment to the expression of hurt?  Is our understanding of pain cultural?  How do we make the torment of another legible?  How does storytelling distinguish intimate traumas (such as accidents or rape) from vast social damage (war, colonialism)?  This course grapples with such questions.  

Our study of trauma’s relation to literature will consider psychoanalytic ideas of historical and personal trauma reflected in literary works of the modern period.  Our approach will be interdisciplinary, considering how powerful concepts in the hermeneutic of psychoanalysis (repression; repetition compulsion; abjection; misrecognition; lack; affect etc.) have been generated by literary works, as well as challenged and absorbed into them.  Insofar as traumatic experience produces a subjective breach, we will think about how certain forms and styles of literature are more (or less) suited to reflect the rupture.   We will read formative texts of psychoanalysis (Freud; Lacan; Kristeva; Foucault and others) and trauma theory (Caruth; Silverman; Fanon; Scarry).  Aside from Jean Rhys’s Good Morning Midnight , our survey will mainly focus on contemporary global novels that depict trauma such as those by Teju Cole, Alison Bechdel, Cormac McCarthy, and Han Kang among others.

ENGL 4561-002: Literature and Human Rights

Engl 4570-001: toni morrison in the round, engl 4580-001: race, space, culture.

Co-taught by K. Ian Grandison and Marlon Ross, this interdisciplinary seminar examines the spatial implications at work in the theories, practices, and experiences of race, as well as the cultural implications at stake in our apprehensions and conceptions of space. Themes include: 1) the human/nature threshold; 2) public domains/private lives; 3) urban renewal, historic preservation, and the new urbanism; 4) defensible design and the spatial politics of fear; and 5) the cultural ideologies of sustainability. The seminar foregrounds the multidimensionality of space as a physical, perceptual, social, ideological, and discursive phenomenon. This means melding concepts and practices used in the design professions with theories affiliated with race, postcolonial, literary, and cultural studies. We’ll investigate a variety of spaces, actual and discursive, through selected theoretical readings from diverse disciplines (e.g., William Cronon, Patricia Williams, Philip Deloria, Leslie Kanes Weisman, Gloria Anzaldúa, Oscar Newman, Mindy Fullilove); through case studies (e.g., Indian reservations, burial grounds, suburban homes, gay bars, national monuments); and through two mandatory local site visits: to Monticello on Sunday, Sept. 22, from 1 to 5 p.m.; and to downtown Charlottesville on Tuesday, Nov. 12, from 5 to 8:30 p.m. Requirements include a take-home midterm, a final critical reflection paper, and a major team research project and symposium presentation.

Final Symposium schedule: Tuesday, Dec. 10, 6:00-9:00 p.m.

Monticello Field Trip, Sunday, Sept. 22, 12:45 - 5:00 p.m.

Downtown Charlottesville Field Trip, Tuesday, Nov. 12, from 5:00 - 8:30 p.m., meets at 333 W. Main Street (former Inge Grocery Store

ENGL 4901-001: The Bible Part 1 - Hebrew Bible / Old Testament

PLEASE NOTE: Professor John Parker will teach a course focusing on the New Testament in spring 2023. Both courses will read the New Testament gospel of Mark, connecting the semesters, but you do not have to take the fall course as a prerequisite for the spring one.

ENGL 4998-001: Distinguished Majors Program

Engl 5559-001: anne spencer & the harlem renaissance.

This discussion-based seminar will focus on the celebrated woman poet Anne Spencer (1882-1975), part of the Harlem Renaissance while living in segregated Lynchburg, Virginia. Spencer’s lasting presence in 30 published poems, a preserved house and garden museum, and the papers at UVA as well as in Lynchburg inspire a planned exhibition in Harrison-Small Library September 2024, along with a slowly expanding body of critical studies. We can advance Spencer studies together in light of reading her work in relation to some other writers she interacted with and our theoretical questions about race, gender, place, environment, and cultural heritage, with some consideration of digital humanities. Our work will include exploring unpublished archives (Special Collections), taking a field trip to the Anne Spencer House and Garden Museum, attending the exhibit and associated events, reading biographies and criticism, practicing skills of reading and interpreting poetry, writing two essays, experimenting with digital tools. The Library hopes to generate support for digitizing images and manuscripts in the UVA collection of many of her papers, as well as examination of her books also archived here. There is no scholarly edition of her works, and our studies will advance scholarship on the evolution of her multi-faceted writing practice (in used notebooks, on walls; prose segueing into poetry and back again).

ENGL 5810-001: Books as Physical Objects

We know the past chiefly through artifacts that survive, and books are among the most common of these objects. Besides conveying a text, each book also contains evidence of the circumstances of its manufacture.  In considering what questions to ask of these mute objects, this course might be considered the "archaeology of printing"—that is, the identification, description, and interpretation of printed artifacts surviving from the past five centuries, as well as exploration of the critical theory that lies behind such an approach to texts. With attention to production processes, including the operation of the hand press, it will investigate ways of analyzing elements such as paper, typography, illustrations, binding, and organization of the constituent sections of a book.  The course will explore how a text is inevitably affected by the material conditions of its production and how an understanding of the physical processes by which it was formed can aid historical research in a variety of disciplines, not only those that treat verbal texts but also those that deal with printed music and works of visual art.  The class will draw on the holdings of the University Library's Special Collections Department, as well as on its Hinman Collator (an early version of the one at the CIA)

* Open to graduate students and advanced undergraduates.

ENGL 5900-001: Counterpoint Seminar in Teaching Modern Literature - “Teaching Literature with Equity and Justice”

This seminar is about how and why teaching literature matters today. How do secondary school and college instructors teach literature in challenging times? How do teachers make tough decisions about what to teach and why? What responsibility do teachers have to promote equity and justice through the literature they teach and the methods they use? In this course, we will tackle these big questions together as we explore what it means to pursue a career in teaching literature to middle school, high school, or college students. Each week, we will weave together your existing knowledge of literature and your emerging knowledge of pedagogy. You will be introduced to theories of learning-focused, culturally relevant, and culturally responsive pedagogy, and you will put your newfound knowledge into practice as we work step by step through designing your own teaching philosophy and materials.

This course will bring together students who already have experience as classroom instructors, students who are in the process of teaching for the very first time, and students who have yet to step up to the front of a classroom in the role of teacher. We will build on this diversity of experiences, learning together how to bring transformative pedagogies into our present and future classrooms.

Writing and Rhetoric

Enwr 1505 - writing and critical inquiry: the stretch sequence (8 sections).

Offers a two-semester approach to the First Writing Requirement. This sequence allows students to take more time, in smaller sections and with support from the Writing Center, practicing and reinforcing the activities that are central to the first-year writing course. Like ENWR 1510, ENWR 1505-06 approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

001 -- Writing about Culture/Society MW 01:00PM-01:50PM (CAB 042) Claire A Chantell   002 -- Writing about Culture/Society MW 02:00PM-03:15PM (CAB 042) Claire Chantell   003 -- Writing about Culture/Society TR 02:00PM-03:15PM (BRN 203) Patricia Sullivan   004 -- Writing about Culture/Society TR 03:30PM-04:45PM (BRN 203) Patricia Sullivan   005 -- Writing about Culture/Society - Literacy Narratives TR 11:00AM-12:15PM (CAB 042) Kate Kostelnik   006 -- Writing about Culture/Society TR 11:00AM-12:15PM (CAB 066) Kate Natishan   007 -- Writing about Culture/Society - Literacy Narratives TR 12:30PM-01:45PM (CAB 042) Kate Kostelnik   008 -- Writing about Culture/Society TR 09:30AM-10:45AM (CAB 066) Kate Natishan

ENWR 1510 - Writing and Critical Inquiry (70+ sections)

Approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

001 -- TBA MWF 09:00AM-09:50AM (CAB 064) TBA

002 -- TBA  TR 08:00AM-09:15AM (CAB 056) TBA   003 – Writing & Community Engagement - Walking Charlottesville TR 02:00PM-03:15PM (BRN 312) Kate Stephenson

This seminar will explore the connections between walking, writing, social justice, and activism. There is a long history of walking as a means of igniting thought, creativity, and dialogue that dates back to the meanderings of Socrates and Aristotle and continues through the strolls of the Romantic poets, the city wanderings of the fictional J. Alfred Prufrock and Clarissa Dalloway, and the outdoor hikes of Wendell Berry. But walking isn’t just linked to creativity and conversation; it’s also clearly connected to social justice. Walking to freedom, as depicted in myriad slave narratives and immigration stories, as well as walking for freedom in the form of protest marches, both past and present, are important reminders that our footsteps matter.   In this class, we will consider how walking can be both a solo activity and a means of creating community. By walking together, we will learn about the places and histories around us.  The course will be structured around biweekly walks themed around social justice. All walks and place-based visits will include time for reflective writing.

004 – TBA TR 05:00PM-06:15PM (CAB 211) TBA   005 -- TBA TR 05:00PM-06:15PM (BRN 330) TBA   006 -- Writing about Science & Tech - Writing and Critical Inquiry at UVA MWF 11:00AM-11:50AM (BRN 330) Heidi Nobles   007 -- TBA MWF 09:00AM-09:50AM (BRN 310) TBA   008 -- TBA MWF 09:00AM-09:50AM (CAB 044) TBA   009 -- Writing about Identities MWF 10:00AM-10:50AM (BRN 312) Devin Donovan (Transfer Students ONLY)   010 -- Writing about Science & Tech - Citizen Science TR 09:30AM-10:45AM (BRN 330) Cory Shaman   011 -- TBA  MWF 11:00AM-11:50AM (BRN 310) TBA    012 -- Writing about Culture/Society MWF 10:00AM-10:50AM (BRN 334) Jon D'Errico   014 -- Writing about Culture/Society - Writing About Sports MW 03:30PM-04:45PM (CAB 064) Rhiannon Goad   015 -- TBA MW 03:30PM-04:45PM (BRN 332) TBA   016 -- Writing about Identities - Aliens and Identities TR 09:30AM-10:45AM (CAB 594) Charity Fowler   017 -- Writing about Identities MWF 11:00AM-11:50AM (BRN 312) Devin Donovan (Transfer Students ONLY)   018 -- TBA  MWF 09:00AM-09:50AM (BRN 334) TBA   019 -- TBA TR 05:00PM-06:15PM (BRN 312) TBA   020 -- Writing about Science & Tech  MWF 09:00AM-09:50AM (BRN 330) Eric Rawson   022 -- Multilingual Writers MWF 12:00PM-12:50PM (BRN 332) Davy Tran (Multilingual/international students ONLY)   024 -- Writing about Science & Tech - Writing and Critical Inquiry at UVA MWF 12:00PM-12:50PM (BRN 334) Heidi Nobles   026 -- Writing about Culture/Society - Ideas of Home MW 02:00PM-03:15PM (BRN 332) John Casteen   027 -- Writing about Culture/Society - Ideas of Home MW 05:00PM-06:15PM (CAB 044) John Casteen   028 -- TBA  TR 05:00PM-6:15PM (BRN 332) TBA    029 -- TBA MW 03:30PM-04:45PM (CAB 036) TBA   031 -- TBA MWF 09:00AM-09:50AM (BRN 332) TBA   032 -- TBA TR 09:30AM-10:45AM (BRN 332) TBA   033 -- TBA TR 08:00AM-09:15AM (BRN 310) TBA   034 -- Multilingual Writers MWF 01:00PM-01:50PM (BRN 310) Davy Tran (Multilingual/international students ONLY)   035 -- Writing about Culture/Society MWF 11:00AM-11:50AM (BRN 334) Jon D'Errico   036 -- Writing about Digital Media -  The Art of the Post: Performance in Public Places TR 11:00AM-12:15PM (BRN 332) Dana Little   037 -- TBA MWF 10:00AM-10:50AM (BRN 310) TBA   040 -- Writing about Digital Media TR 11:00AM-12:15PM (BRN 334) Kevin Smith   042 -- TBA MWF 01:00PM-01:50PM (BRN 312) TBA   043 -- Writing about Culture/Society  TR 11:00AM-12:15PM (CAB 187) Sethunya Mokoko   044 -- TBA MWF 10:00AM-10:50AM (BRN 332) TBA   045 -- Writing about Science & Tech  MWF 10:00AM-10:50AM (BRN 330) Eric Rawson   046 -- Writing about Digital Media -  The Art of the Post: Performance in Public Places TR 12:30PM-01:45PM (BRN 332) Dana Little   047 -- Writing about Culture/Society - Writing About Sports MW 02:00PM-03:15PM (BRN 330) Rhiannon Goad 

050 -- Writing about Culture/Society  TR 12:30PM-01:45PM (CAB 056) Sethunya Mokoko   051 -- Writing about Culture/Society TR 05:00PM-06:15PM (CAB 411) Keith Driver (Transfer Students ONLY)   052 -- TBA  TR 08:00AM-09:15AM (CAB 044) TBA   053 -- TBA MWF 09:00AM-09:50AM (CAB 056) TBA   054 -- TBA TR 11:00AM-12:15PM (KER 317) TBA   056 -- TBA TR 08:00AM-09:15AM (BRN 332) TBA   057 -- TBA TR 09:30AM-10:45AM (CAB 064) TBA   058 -- TBA TR 09:30AM-10:45AM (BRN 310) TBA   059 -- TBA MWF 12:00PM-12:50PM (BRN 312) TBA   060 -- TBA MW 03:30PM-04:45PM (CAB 056) TBA   061 -- Writing about Science & Tech TR 11:00AM-12:15PM (BRN 330) Cory Shaman   062 -- TBA TR 02:00PM-03:15PM (BRN 332) TBA   063 -- TBA TR 08:00AM-09:15AM (BRN 334) TBA   064 -- TBA MW 05:00PM-06:15PM (CAB 036) TBA   066 -- TBA TR 03:30PM-04:45PM (BRN 334) TVA   067 -- TBA TR 05:00PM-06:15PM (BRN 334) TBA   068 -- Writing about Identities - Aliens and Identities TR 11:00AM-12:15PM (CAB 183) Charity Fowler   071 -- TBA MW 06:30PM-07:45PM (BRN 310) TBA   072 -- Writing about Digital Media  TR 12:30PM-01:45PM (BRN 334) Kevin Smith   073 -- TBA TR 08:00AM-09:15AM (BRN 330) TBA   074 -- TBA MW 03:30PM-04:45PM (BRN 334) TBA   075 -- TBA TR 12:30PM-01:45PM (BRN 310) TBA   076 -- TBA TR 08:00AM-09:15AM (BRN 312) TBA   077 -- TBA TR 03:30PM-04:45PM (BRN 310) TBA   078 -- TBA TR 06:30PM-07:45PM (BRN 312) TBA   080 -- TBA MW 05:00PM-06:15PM (BRN 334) TBA   081 -- TBA MWF 11:00AM-11:50AM (BRN 332) TBA   082 -- Writing about Culture/Society - Indigenous Rhetorics TR 09:30AM-10:45AM (BRN 312) Sarah Richardson   083 -- TBA MWF 01:00PM-01:50PM (BRN 330) TBA   085 -- TBA TR 09:30AM-10:45AM (BRN 334) TBA   086 -- TBA TR 11:00AM-12:15PM (CAB 115) TBA   087 -- TBA MWF 09:00AM-09:50AM (BRN 312) TBA   088 -- Writing about Culture/Society - Indigenous Rhetorics TR 11:00AM-12:15PM (BRN 312) Sarah Richardson   089 -- TBA MW 03:30PM-04:45PM (CAB 044) TBA   090 -- TBA MW 05:00PM-06:15PM (BRN 332) TBA

091 -- TBA TR 08:00AM-09:15AM (CAB 064) TBA

092 -- TBA TR 05:00PM-06:15AM (KER 317) TBA

ENWR 1520 - Writing and Community Engagement (1 section)

001 -- TR 12:30PM-01:45PM (BRN 312) - Writing about Food Justice Kate Stephenson

Why do we eat what we eat? Do poor people eat more fast food than wealthy people? Why are Cheetos cheaper than cherries? Do you have to be skinny to be hungry? By volunteering at the UVA Student Garden, Morven Kitchen Garden, UVA Community Food Pantry, Loaves and Fishes, or the PVCC Community Garden and using different types of writing, including journal entries, forum posts, peer reviews, and formal papers, we will explore topics like food insecurity, food production, hunger stereotypes, privilege, urban gardening, and community engagement.  

Community engagement courses depend on creating pathways between different kinds of knowledge that enable us to learn with our minds, hearts, and bodies. The classroom is not a place where we find the answer; instead, it is a space for inquiry where process rather than product prevails. We will explore first-hand the ways in which academic conversations—and civic conversations—emphasize questions rather than answers. We will redefine knowledge—where it originates, who creates it, and how it circulates—by seeing the community outside the classroom as a site of knowledge production. 

ENWR 1530 - Writing About the Imagination

MW 01:00PM-01:50PM (MON 130) Kenny Fountain

Discussion Sections: F 9:00AM, 10:00AM, 11:00AM, and 12:00PM.

Imagining and visualizing are key components of perceiving the world, remembering the part, and envisioning new futures. And words play an important role in how we imagine. That is, words make absence things present, bring to mind people, objects, and events remote in time or space, and allow us to conceive of possibilities that do not yet exist. In this First Writing Requirement (FWR) course, we will explore how writers and researchers have investigated the imagination. To do this, we will read work from across several disciplines, from rhetoric and philosophy to cognitive science, history, and literature. As we do this, we will examine how these writers use verbal description, visual imagery, lively storytelling, compelling evidence, and persuasive argument. 

ENWR 2510 - Advanced Writing Seminar (4 sections)

001 -- Writing about Identities -  Writing Regret and Repair MW 03:30PM-04:45PM (BRN 330) Tamika Carey    003 -- Writing about Identities MWF 01:00PM-01:50PM (BRN 332) Devin Donovan   004 -- TBA TR 11:00AM-12:15PM (CAB 594) TBA   006 -- Writing about Science & Technology MWF 12:00PM-12:50PM (BRN 310) Eric Rawson

ENWR 2520 - Special Topics in Writing (4 sections)

003 -- Writing Democratic Rights T 06:00PM-08:30PM (BRN 310) Stephen Parks

Students will study theories of democracy and work with global democratic advocates, as well as students located in internatioanal contexts.

004 -- Writing Human Rights M 06:00PM-08:30PM (BRN 330) Stephen Parks

Students will study theories of human rights and work with global human rights advocates, as well as students located in internatioanal contexts.

008 -- Writing about Medicine MW 05:00PM-06:15PM (BRN 310) Rhiannon Goad

009 -- Community Engagement   TR 02:00PM-03:15PM (BRN 310) Sarah Richardson

010 -- Writing and Games TR 02:00PM-03:15PM (BRN 330) Kate Natishan

ENWR 2640 - Writing as Technology

TR 11:00AM-12:15PM (BRN 203) Patricia Sullivan

This course explores historical, theoretical, and practical conceptions of writing as technology. We will study various writing systems, the relation of writing to speaking and visual media, and the development of writing technologies (manuscript, printing presses, typewriters, hypertext, text messaging, and artificial intelligence). Students will produce written academic and personal essays, but will also experiment with multimedia electronic texts, such as web sites, digital essays/stories, and AI generated texts

ENWR 2700 - News Writing

TR 09:30AM-10:45AM (BRN 203) Kate Sweeney

ENWR 2800 - Public Speaking

001 - The Power of Performance: From TED Talks to TikTok TR 03:30PM-04:45PM (BRN 330) Dana Little

ENWR 3500 - Topics in Advanced Writing & Rhetoric

003 - Race, Rhetoric, and Social Justice TR 03:30PM-04:45PM (CAB 036) Sethunya Mokoko

ENWR 3620 - Writing and Tutoring Across Cultures

TR 03:30PM-04:45PM (BRN 332) Kate Kostelnik

In this course, we'll look at a variety of texts from academic arguments, narratives, and pedagogies, to consider what it means to write, communicate, and learn across cultures. Topics will include contrastive rhetorics, world Englishes, rhetorical listening, and tutoring multilingual writers. A service learning component will require students to volunteer weekly in the community.

ENWR 3640 - Writing with Sound

TR 11:00AM-12:15PM (RTN 152) Steph Ceraso

In this collaborative, project-based course, students will learn to script, design, edit, and produce an original podcast series. In addition to reading about and practicing professional audio storytelling techniques (e.g. interviewing, writing for the ear, sound design), each student will get to work with a team to produce an episode for the podcast series. No experience with digital audio editing is necessary. Beginners welcome!

ENWR 3665 - Writing about the Environment

TR 02:00PM-03:15PM (BRN 334) Cory Shaman

ENWR 3760 - Studies in Cultural Rhetoric

M 06:00PM-08:30PM (BRN 312) Tamika Carey

ENWR 3900 - Career Based Writing and Rhetoric

MW 03:30PM-04:45PM (CAB 068) John T. Casteen IV