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How to Describe a Baby Crying in Writing

By A.W. Naves

Does a baby feature in your novel? Do you want to know how to describe a baby crying in writing? Scroll down to learn about 10 descriptive words that can be used to do this.

Shrieking, howling : A loud, prolonged, mournful cry or sound.

“The baby’s wailing echoed through the silent house, causing unease among the adults.”

“In the quiet hospital room, the sudden wailing of the newborn sent the nurses into action.”

How it Adds Description

The use of “wailing” paints a picture of an intense, long-lasting cry, instantly creating a sense of urgency or distress. This could indicate various situations – perhaps a baby is feeling discomfort, or maybe an intense situation is unfolding, and the baby’s wail signifies the emotional peak of the scene. It describes the sound and adds emotional depth to a scene.

2. Piercing

Shrill, acute : so high-pitched it causes discomfort.

“The piercing cry of the baby cut through the peaceful afternoon.”

“As the piercing wail of the baby filled the air, all other sounds seemed to fade into the background.”

The word “piercing” emphasizes the shrill, disturbing quality of the baby’s cry, suggesting it is almost painful to hear. It can be used to accentuate a contrast between the cry and a previously calm or quiet environment, indicating a dramatic interruption or change. This could be used to introduce conflict or tension in a story or to draw the attention of the characters to the baby.

3. Desperate

Frantic, hopeless : a sense that a situation is so bad as to be impossible to handle.

“Her baby’s desperate cries filled the room, highlighting her sense of helplessness.”

“The sound of the baby’s cry sounded desperate as it echoed through the empty hallways, signaling the urgency of the situation.”

“Desperate” conveys a sense of urgency and helplessness. It suggests the baby’s needs are immediate and serious, heightening the stakes of the situation. The word could push characters into immediate action, serve as a turning point in the narrative, or reflect a character’s emotional state of despair or fear.

4. Plaintive

Mournful, sorrowful : expressing melancholy.

“The plaintive wail of the baby filled the air, mirroring the gloomy atmosphere of the room.”

“As the baby’s plaintive cries echoed through the hall, a sense of melancholy washed over her.”

“Plaintive” imbues the baby’s cry with a mournful or sorrowful tone, hinting at an underlying sadness. This might infuse a sense of melancholy into a scene, mirroring the emotions of characters, or establishing an emotionally charged atmosphere. It might reflect the internal feelings of a character, or foreshadow a tragic event in the plot.

5. Unceasing

Nonstop, continual : not coming to an end.

“The unceasing cries of the baby kept the entire household awake.”

“Despite their best efforts to soothe him, the baby’s unceasing cries continued throughout the night.”

The term “unceasing” communicates a sense of relentlessness and persistence. This descriptor can serve to build stress, create an atmosphere of frustration or desperation, or illustrate the struggle of trying to soothe the baby. The ongoing nature of the cry could pressure characters into problem-solving, influencing the development of the story arc.

6. Guttural

Harsh, throaty : coming from deep in the throat and typically perceived as harsh sounding.

“The guttural cry of the baby caused a stir among the sleeping household.”

“The baby let out a guttural wail that resonated with the weight of her own grief.”

The term “guttural” adds a coarse, primal, and powerful characteristic to the baby’s cry. This could give the scene a raw, intense edge, introducing a sense of discomfort or urgency. It can imply that the baby’s distress is profound, adding emotional intensity and prompting immediate action from the characters.

Weak, frail : lacking physical strength or vitality.

“The feeble cries of the baby spoke volumes about his fragile health.”

“Hearing the baby’s feeble cry over the monitor was pulling at her heartstrings.”

“Feeble” implies a lack of strength or vitality in the baby’s cry, proposing a potential vulnerability or illness. This descriptor can infuse an element of concern or tension into the scene, suggesting that the baby’s needs may be more urgent or serious. It can evoke sympathy from the characters and readers and may lead to character actions driven by concern or compassion.

8. Harrowing

Distressing, agonizing : extremely disturbing.

“The harrowing cries of the baby left her feeling helpless.”

“In the dimly lit room, the baby’s harrowing wails filled the air, painting a grim picture.”

Using “harrowing” to describe the baby’s cry enhances the sense of distress and discomfort being illustrated. This term can add emotional gravity to the scene, perhaps signaling a crisis or extreme stress. Such a heightened state of sensitivity can propel characters into action or deepen the tale’s exploration of character reactions and emotions.

Softened, subdued : Being or made softer or less loud or clear.

“Through the closed door, the baby’s muffled cries were barely audible.”

“Wrapped in her arms, the baby’s cries became a muffled whimper, hinting at her soothing presence.”

“Muffled” gives a sense of distance or softness to the baby’s cry. Depending on the context, this can create a sense of intimacy or isolation. It might imply that the baby is being comforted, or alternatively, that the cry is going unheard, each leading to different narrative developments or character responses.

10. Quavering

Trembling, shaky : shaking or trembling from weakness or fear.

“The quavering cries of the baby reflected her own uncertainty.”

“In the dead of night, the baby’s quavering cry seemed to fill the darkness with an eerie sense of dread.”

“Quavering” implies a sense of fear, uncertainty, or weakness in the baby’s cry. This can create an emotional connection between the baby’s state and the overarching mood of the scene, perhaps highlighting vulnerability or anxiety. It can reflect or foreshadow character emotions or contribute to the formation of an unsettling atmosphere.

Write that Scene

May your writing spirit live on forever

How to Write a Birth Scene

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What happens before labor? Steadily lead up to the intense scene.
Let’s focus on the past real quick, shall we?
Pain and Giving birth.
All about the Mother.
Don’t forget the people in the room around the mother.
99% of the time you can write a great birth scene focusing on the emotions more than the pain and blood.
Child Removed.

» A. The next thing the woman knows, she has her little bundle of joy is in her arms. I. Before you show the baby you might want to take notice to the fact the baby is crying loudly… unless he/she is drinking milk or sleeping soundly. II. During this bonding time with the mother, the woman may give birth to the placenta, but I don’t think you have to add that in your story. III. Is the baby responding well to the mother, sucking her finger, snuggling close to her, sleep quietly? Or is the baby crying like no tomorrow? IV. Describe how the baby looks. You can go on google images and look for cute babies to give you inspiration. Is h/she chubby? How much did they weigh? Who do they resemble? The mother or father? Example 10: Maya and her daughter were like one. They had a perfect bond, something that is rare on this planet or Trion. The only planet that remained after the universe self-destructed. Earth, Mars, Venus, and even the moon were gone. Trion was said to be decomposing, but it was this prophecy, the prophecy of Maya’s baby that would change that and allow the Eronal race to continue living. The baby resembled everything holy in the land of Trion. Lavender colored skin, large green eyes, golden hair with black streaks, and a silver tongue… literally. This baby was considered beautiful on the planet of Trion. You earthlings will know nothing about it. I guess it doesn’t matter really; your species doesn’t exist anymore. » B. Wrap up the scene with a calming tone. I. If this is the end of your story, then give the reader hope for the future of this new family. Maybe the mother promises to do everything she can to make the life of the baby perfect. Maybe the husband, who was never around decides to work on the marriage. II. And of course, what is the baby’s name? Give the name meaning because just like the life of this baby, a name is very important. Example 11: “Maya,” the doctor said, coming in with a huge grin. “What have you decided to name the future queen of Trion?” Maya sat up in her bed and nodded, saying, “Mark and I have decided on the name Tiyona which means both light and darkness, because those two things will restore our land. We need both for a balance.” “Agreed, that is what caused the universe to self-destruct before.” Maya’s mother spoke up. “Tell me, what makes my grandchild so special in Trion.” “Mother, don’t be silly,” Maya began. “No. Your mother has a very intriguing question that I’ll be happy to address.” The doctor cleared his throat. “You see, Tiyona is the only baby born alive. It has been fifteen years since a baby has been conceived and has been twenty since a baby has been born. Have you forgotten?” Maya’s mother had tears coming out of her eyes. “I have. I forgot. Why… why have I forgot?” “Oh, there’s another thing I must inform you about. Part of the prophecy is that, instead of food, the baby feeds off memory of the elderly in order to live. Yours is the first to go, sorry.” “No!!!!” Maya’s mother yelled. She will forget this moment forever; she will forget who she is and that he grandchild is even hers. Maya covered Tiyona’s eyes; she seemed unphased. The prophecy has only begun. What more could this demon child… I mean chosen one possess of power. Moreover, how will she obtain it? ** !You might have to scroll down the textbox with your mouse! Click For Full Example function hideshow(which){ if (!document.getElementById) return if (which.style.display=="block") which.style.display="none" else which.style.display="block" } p {text-indent:30px;} “I love you, why can’t you see that?” Maya said to her ex-boyfriend. They were on the edge of breaking up. Even with the baby on the way, these two once love birds could not put aside their difference. It could have been because they were young. Or maybe they weren’t compatible. Whatever the case may be, I had advised them to get their act together, or else. “Loving me isn’t good enough!” Mark yelled. “It just isn’t good enough anymore. I’m sorry….” Maya held onto her stomach. “I think she’s coming,” she sounded hysterical. “No way.” Mark couldn’t believe it; the baby wasn’t due for another two months. “Let’s go, ahhhhh!” Maya barely could stand the pain. The couple arrived to the hospital in time. They were lucky; only one room was available. Room 44. No one has used the room in over a year. It was sterile, clean and it was for Maya. Laying in the bed, the pain was clear on her face. She screamed every five seconds, hoping the baby would shoot out easily. Though, that wasn’t the case. Maya tried breathing excuses like the midwife suggested, yet, still, the contractions continued to wear her down. Then, it came. A gush of water came out of her body, causing Maya, and her boyfriend Mark, to shriek. “It’s time,” the doctor said. “Maya, I’m going to need you to push.” And she listened… She pushed and pushed long and hard. An hour past before they made progress. The head finally showed. To Maya, the pain resembled a watermelon being pushed through a hole the size of a lemon. Good thing she wasn’t having twins. “This isn’t good,” Doctor Johnor exclaimed. He widened his eyes. “It looks like something isn’t right with her. It’s the umbilical cord… it’s wrapped around her neck.” “Shit!” Mark grabbed his chest and started heaving. “What does that mean?!” Maya yelled through her pushing and pain. “If we don’t get the baby out now, she is going to die.” “Do a C-section,” the midwife said. “It’s too late. By the time I get ready to that the baby will be dead. I’m sorry, but we’re going to have to rely on faith alone for this.” A doctor, someone who studied science and only believed in the facts, had to now rely on what he could not predict, on something that science alone could not solve. This, my friend, was also part of the prophecy. “I got to throw up,” Maya said. Her body was hot, heavy and in pain. She felt like this nightmare would never end. It was as if she had gone to hell and back, though the fire continued to burn. Yes, this moment was supposed to be sweet and memorable, except it wasn’t. Maya wanted all the agonizing to end. Right here. Right now. Everyone hovered around her like wild animals. She needed space. She needed air. “Get this thing out of me!” she shouted, squeezing her boyfriend’s hand tightly. If the baby didn’t leave her body soon, she might faint. “Do you need water,” Mark chanted. “Is the position comfy enough for you?” the midwife asked for the eightieth time. “Keep pushing, you’re almost there,” the doctor reminded her. No one was really happened. All Maya really wanted was for them to…. “Shut up!!” she screamed, still heaving and pushing steadily. Then, entering the room was Maya’s mother. She went by the bed and held up on of her daughter’s legs to help. “Mom,” Maya said, relieved. If anyone could brighten her day it would be her mom. “It’s fine, all you need to do is keep breathing.” “They said he has a—” Maya’s mother shushed her. “I already know,” she said. “Just keep pushing. Don’t quit now or all of this was for nothing.” The went on like this for awhile. Breathing, chanting, and pushing. It was a repeated cycle. Maya, feeling drowsy, was beginning to pass out. Who knew how long she had left to continue on like this. Please come out baby girl, Maya thought to herself, I held you warm in me long enough. It’s time to come out and see the world. Why did I have to smoke in the first two months of my pregnancy? This is all my fault. Not only is she premature but she has a cord choking her. If she doesn’t make it, I vow to end my own life. I don’t deserve to live without her. The baby didn’t seem like she wanted to come out, anyway. Her head popped back into her mother’s body so quickly. Because of the blood being slippery, the doctor couldn’t get a good grip on the head. It wasn’t until the next long push that got the job done. Half the baby exited Maya’s body and the doctor was able to pull out the rest of the body. Immediately after the doctor cut the cord from around her neck, the crying baby girl was put on Maya’s chest. Mark stood close, smiling. “I love you,” Maya said, looking deep into the baby’s eyes. And with that, the baby went silent. No more crying, just silent. A minute based by and the mid-wife took the baby to clean her up and do a few tests. Meanwhile, Maya and Mark rekindled their relationship as the mother took pictures. By the time they tried breastfeeding the baby in the recovery room, Mark had proposed to Maya. He had no ring but he had his word, and this time he promised to stay true to it. This, my friend, was the next part of the prophecy. Maya and her daughter were like one. They had a perfect bond, something that is rare on this planet or Trion. The only planet that remained after the universe self-destructed. Earth, Mars, Venus, and even the moon were gone. Trion was said to be decomposing, but it was this prophecy, the prophecy of Maya’s baby that would change that and allow the Eronal race to continue living. The baby resembled everything holy in the land of Trion. Lavender colored skin, large green eyes, golden hair with black streaks, and a silver tongue… literally. This baby was considered beautiful on the planet of Trion. You earthlings will know nothing about it. I guess it doesn’t matter really; your species doesn’t exist anymore. “Maya,” the doctor said, coming in with a huge grin. “What have you decided to name the future queen of Trion?” Maya sat up in her bed and nodded, saying, “Mark and I have decided on the name Tiyona which means both light and darkness, because those two things will restore our land. We need both for a balance.” “Agreed, that is what caused the universe to self-destruct before.” Maya’s mother spoke up. “Tell me, what makes my grandchild so special in Trion.” “Mother, don’t be silly,” Maya began. “No. Your mother has a very intriguing question that I’ll be happy to address.” The doctor cleared his throat. “You see, Tiyona is the only baby born alive. It has been fifteen years since a baby has been conceived and has been twenty since a baby has been born. Have you forgotten?” Maya’s mother had tears coming out of her eyes. “I have. I forgot. Why… why have I forgot?” “Oh, there’s another thing I must inform you about. Part of the prophecy is that, instead of food, the baby feeds off memory of the elderly in order to live. Yours is the first to go, sorry.” “No!!!!” Maya’s mother yelled. She will forget this moment forever; she will forget who she is and that he grandchild is even hers. Maya covered Tiyona’s eyes; she seemed unphased. The prophecy has only begun. What more could this demon child… I mean chosen one possess of power. Moreover, how will she obtain it? Related posts:

4 thoughts on “ How to Write a Birth Scene ”

I’m not sure if you intended it be like this but one minute I”m telling the reader it’s a girl and the next I’m telling them that there are complications in the story. This is making it hard and making me having to go back to put scenes in the right order.

Hello krystal, you can skip over that part. It was added for writers who intentionally wanted problems in this scene in order to create drama. However, if you have any suggestions for the order of the scene we will be happy to take it into consideration. Keep in mind, a scene can written many ways. For example, the reader learns the baby is a girl but seconds later there is complications with the birth.

In the meantime, we will look over the scene and adjust wherever possible.

I wrote a scene about this, I almost finished and when I opened the site again, it’s gone. Is there anyway I could get my written scene back? ?

Oh no! I’m so sorry. Unfortunately, there is no way. Were you using your phone of computer browser? Also, I’ll look into autosaving writers pieces. I believe that’s important and understand the emotion behind losing your work. Here are some ideas that I hope may help:

1. If the browser is still open, go back until you reach the original page. 2. If you use chrome, try these extensions to save text while you work in the future: Typio Form Recovery

If you need a link to it let me know. You can search it in chrome extension store. It’s absolutely free but only works on a computer not a phone. Let me know if you need any more help!

Write a birth scene by focusing on authenticity, emotional depth, and character dynamics. Research childbirth, depict physical and emotional experiences vividly, use effective dialogue, and ensure the scene aligns with the story’s theme.

In this guide, you’ll learn everything you need to know about how to write a birth scene.

What Is a Birth Scene?

Mother in hospital room lovingly holding her peaceful newborn baby. - How to write a birth scene

Table of Contents

A birth scene in literature or film is a depiction of childbirth.

It’s more than just a medical event — it’s a powerful narrative moment filled with emotion, struggle, and often, transformation.

Such scenes can serve various purposes in a story, from symbolizing new beginnings to creating intense drama.

They require a nuanced approach to balance realism, sensitivity, and storytelling needs.

Types of Birth Scenes

Here are 10 types of birth scenes, each offering a unique perspective on this transformative experience:

Hospital Birth : The most common setting, featuring medical staff, equipment, and a clinical environment. This scene can range from highly technical, with medical jargon and procedures, to emotionally driven, focusing on the interactions between the birthing person, family, and healthcare professionals.
Home Birth : A more intimate setting, often including a midwife or doula. These scenes can emphasize comfort, familiarity, and the support of loved ones. Home births allow for personalized details and a focus on the natural aspect of childbirth.
Unexpected Location Birth : These scenes occur in unplanned places like cars, airplanes, or public areas. They often feature high tension, urgency, and improvisation, highlighting the unpredictability of childbirth.
Historical Birth : Set in a past era, these scenes reflect the medical knowledge and cultural attitudes of the time. They can offer insight into historical birthing practices and societal norms surrounding childbirth.
Fantasy or Sci-Fi Birth : Involving imaginative elements like magic, alien species, or futuristic medical technology. These scenes can explore themes of prophecy, destiny, or the impact of advanced or alternative technologies on childbirth.
Water Birth : Occurring in a pool or bath, water births are often depicted as calming and natural. These scenes can focus on the soothing effect of water and the empowerment of the birthing person.
Comedic Birth : While childbirth is often intense, comedic scenes focus on humorous aspects, like unexpected mishaps, funny dialogue, or the juxtaposition of a nonchalant character in a chaotic situation.
Dramatic or Traumatic Birth : These scenes are high-stakes and intense, often involving complications or emotional turmoil. They can be pivotal plot points, leading to significant character development or story shifts.
Spiritual or Ritualistic Birth : Centered around religious, spiritual, or cultural rituals. These scenes can explore the deeper meaning of childbirth within a cultural or spiritual context, often emphasizing connection, tradition, and the sacred nature of birth.
Quiet, Reflective Birth : A more subdued approach, focusing on the internal experience of the birthing person. These scenes might include introspective monologues, a focus on the emotional journey, and a peaceful, almost serene, setting.

27 Ways to Write a Birth Scene

Here are 27 ways to write a birth scene in your story, novel, or screenplay from start to finish.

Tip 1: Research Thoroughly

Begin by conducting thorough research to ensure the birth scene is realistic and authentic.

This involves understanding the stages of labor, common medical practices, and potential complications.

This foundational knowledge will lend credibility to your scene. For instance, understanding the nuances of contractions and the role of medical interventions can enrich your description.

In addition to medical aspects, consider exploring personal birth stories or firsthand accounts.

These can offer insights into the emotional and psychological experiences of childbirth.

For example, reading accounts from new parents might reveal the mix of fear, pain, and joy that often accompanies childbirth, helping you to capture these emotions more effectively in your writing.

Tip 2: Understand the Setting

The setting of a birth is crucial and can greatly influence the tone and details of the scene.

Whether it’s in a hospital, at home, or in an unconventional location, each setting brings unique elements to the birth.

In a hospital setting, for instance, describe the clinical environment, the presence of medical staff, and the technology used.

This helps create a realistic backdrop for the event.

For a home birth, focus on the intimate and personal aspects of the environment.

Describe the comforts of home, the involvement of family or a midwife, and any personal rituals or preparations.

This setting can lend a more tranquil and familiar tone to the scene, contrasting with the more clinical atmosphere of a hospital.

Tip 3: Portray the Physical Experience

Describing the physical sensations experienced during childbirth is essential for an immersive scene.

Focus on the intensity of contractions, the exhaustion and physical strain, and the relief of the birth’s completion.

For example, detail the escalating intensity of contractions, the physical positioning and movement, and the tactile sensations experienced.

Also, consider the wider physical environment and its impact on the birthing person.

For instance, the hardness of a hospital bed, the temperature of the room, or the gentle touch of a partner can all be significant in the overall experience.

These details help ground the scene in a tangible reality.

Tip 4: Capture Emotional Complexity

Childbirth is a deeply emotional experience, encompassing a wide range of feelings.

It’s important to capture this complexity, from the intense pain and fear of the unknown to the overwhelming joy and relief.

For example, describe the internal struggle with pain and fear, followed by the profound euphoria upon hearing the baby’s first cry.

Additionally, consider the emotional journey not just of the birthing person but also of those around them.

Partners, family members, and medical staff all experience their own emotional responses to the birth.

Showing their worry, excitement, or professional calm adds another layer of emotional depth to the scene.

Tip 5: Include Support Characters

Support characters can significantly enrich a birth scene.

They offer emotional support, face their own reactions to the birth, and can provide a different perspective on the event.

A partner’s hand to hold, a midwife’s reassuring words, or a family member’s anxious pacing can all contribute to the scene’s emotional tapestry.

These characters also offer opportunities to explore different relationships and dynamics.

For instance, the interaction between the birthing person and their partner can reveal much about their relationship, while the role of healthcare professionals can add a layer of realism and expertise to the scene.

Tip 6: Use Dialogue Effectively

Effective dialogue is key in a birth scene.

It should be realistic and capture the urgency, reassurance, or tension of the moment.

Medical professionals might use short, direct phrases, while loved ones provide emotional support through their words.

For instance, a doctor’s instructions can convey a sense of urgency, while a partner’s words can offer comfort and encouragement.

Dialogue can also reveal character traits and relationships.

The way characters speak to each other in this high-stress situation can show their underlying dynamics, fears, and strengths.

For example, a calm and encouraging dialogue from a partner can demonstrate their support and strength in a tense moment.

Tip 7: Show the Physical Environment

The physical environment plays a significant role in setting the tone of the birth scene.

Describing the room, the equipment, and even the lighting and sounds can help paint a vivid picture.

In a hospital setting, mention the sterile surroundings, the medical equipment, and the hustle of staff.

This creates a backdrop that is both realistic and evocative.

In contrast, a home birth scene might include descriptions of familiar surroundings, personal items, and a more relaxed atmosphere.

The contrast between the clinical and personal environments can greatly affect the scene’s mood.

Tip 8: Reflect on Cultural and Personal Beliefs

Childbirth is deeply influenced by cultural and personal beliefs.

Including details about specific rituals, traditions, or practices adds depth and authenticity to the scene.

Whether it’s a religious prayer, a cultural tradition, or a family ritual, these elements can provide insight into the characters and their backgrounds.

For example, a character might follow a cultural tradition of silence during labor.

Or another might have a specific talisman or charm for good luck.

These personal and cultural touches offer a richer, more nuanced portrayal of the birth experience.

Moreover, exploring how these beliefs affect the characters’ attitudes towards childbirth can add another layer of depth.

Some may find comfort and strength in their traditions, while others might struggle with expectations or pressures.

This interplay of beliefs and personal experiences can be a compelling aspect of your birth scene.

Tip 9: Balance Realism with Narrative Needs

It’s important to strike a balance between realism and the requirements of your narrative.

While accuracy is crucial, the birth scene should also serve the story’s larger themes and plot developments.

If the narrative calls for a dramatic or unexpected turn, it’s acceptable to deviate from strict realism for storytelling purposes.

For instance, a sudden complication can be used as a plot device to introduce tension or catalyze character development.

In balancing these aspects, consider how the birth scene fits into the overall narrative arc.

It can be a moment of transformation, a climax of a storyline, or a catalyst for future events.

For example, a relatively smooth birth might symbolize hope in a dark story, while a more challenging labor could foreshadow future struggles.

Tip 10: Address Complications with Sensitivity

When including complications in your birth scene, approach them with care and sensitivity.

It’s essential to research these situations thoroughly and portray them in a way that is both realistic and empathetic.

Show not only the physical challenges but also the emotional and psychological impact on the characters involved.

For example, in a difficult labor, focus on the birthing person’s determination and the support they receive, rather than just the pain and fear.

Additionally, consider the broader implications of including such complications.

They should serve a purpose in your story, whether to develop characters, advance the plot, or highlight a theme.

Be mindful of the potential impact on readers who may have had similar experiences, and strive to handle these scenes with respect and authenticity.

Tip 11: Highlight the Role of Medical Professionals

Medical professionals, such as doctors, midwives, and nurses, play a vital role in a birth scene.

They bring expertise, authority, and reassurance to the situation.

Portraying these characters accurately and empathetically can add a layer of realism and complexity.

For instance, a midwife might calmly manage a challenging situation, demonstrating both professional competence and personal warmth.

In depicting these characters, consider their interactions with the birthing person and their support network.

They can provide crucial medical information, offer reassurance, or even act as a calming presence.

Their dialogue and actions can reveal much about their professionalism and character, adding depth to the scene.

Tip 12: Explore the Psychological Impact

The psychological impact of childbirth is profound and multifaceted.

Delving into the inner thoughts and emotions of the characters involved can provide a deeper understanding of their experiences.

For example, a birthing person might grapple with intense fear or find unexpected strength, while a partner might experience helplessness or awe.

This exploration can extend beyond the birth scene itself.

For example, the memory of childbirth might shape a character’s approach to parenting or alter their perception of themselves and their capabilities.

Tip 13: Use Metaphors and Similes

Metaphors and similes can enrich your birth scene by providing vivid, relatable imagery.

They can help readers understand the intensity and uniqueness of the childbirth experience. For example, comparing the rhythm of contractions to a storm’s ebb and flow can convey both the power and the naturalness of the process.

Incorporating these literary devices requires a delicate balance.

They should enhance the scene without overwhelming it or seeming out of place.

Choose metaphors and similes that resonate with the overall tone of your story and the experiences of your characters.

Tip 14: Focus on the Senses

Engaging the reader’s senses is a powerful way to bring a birth scene to life.

Describe not only what is seen, but also the sounds, smells, tastes, and tactile sensations surrounding the event.

For example, the antiseptic smell of a hospital, the sound of reassuring voices, or the sensation of a comforting touch can all contribute to a rich, immersive experience.

Consider how sensory details can convey mood and emotion.

The warmth of a hand, the coolness of a damp cloth, or the softness of a blanket can offer comfort or contrast with the intensity of labor. These details add depth and realism to the scene.

Tip 15: Show the Impact on Relationships

Childbirth can significantly affect relationships, both strengthening and testing them.

Illustrate how the experience impacts the dynamics between characters.

For example, a couple might find a new level of connection and mutual respect through the shared experience of childbirth, or it might expose and amplify existing tensions

and conflicts. This can provide an opportunity to explore themes of partnership, support, and resilience.

Furthermore, the arrival of a new family member can shift the balance in relationships beyond the immediate circle.

Siblings, grandparents, and even friends may find their roles and perceptions changing.

Capturing these shifts can add a layer of complexity to your story, showing the far-reaching impact of a new life.

Tip 16: Consider the Pace

Pacing is crucial in a birth scene.

A fast-paced, urgent delivery can convey intensity and drama, while a slower, more drawn-out labor can build suspense and allow for deeper character exploration.

Use pacing to reflect the nature of the childbirth and the emotional journey of the characters.

For example, quick, short sentences can mimic the rapid progression of a sudden labor, while longer, more descriptive passages can convey the prolonged struggle and anticipation of a lengthy labor.

Adjusting the pace can also reflect changes in the situation.

A sudden complication might lead to a quickening of pace, heightening tension, whereas a moment of calm after a difficult period can slow the narrative, allowing characters and readers to catch their breath.

Tip 17: Include Moments of Humor

Humor, even in a birth scene, can provide a welcome respite from tension and add a touch of humanity.

Light-hearted moments or humorous exchanges can offer realism and relief.

For example, a witty remark from a character can ease tension, or an unexpected, funny situation can arise, providing a moment of levity in an otherwise intense scene.

The inclusion of humor should be natural and fit the characters and the situation.

It can also serve to deepen character relationships, showing how people can find comfort and connection through laughter even in the most challenging times.

Tip 18: Show the Transformational Aspect

Childbirth is often a transformative experience for characters.

Highlight how they change or grow through this event. This transformation can be emotional, psychological, or relational.

For instance, the birth experience might bring a new sense of maturity, a shift in priorities, or a deepening of relationships.

This can be a powerful aspect of character development and a pivotal moment in the narrative.

Consider how this transformation affects not just the birthing person but also those around them.

The arrival of a new family member can change dynamics, alter perceptions, and set characters on new paths.

This can be an opportunity to explore themes of change, growth, and the cycle of life.

Tip 19: Use Internal Monologue

Internal monologue offers a window into a character’s thoughts and feelings, providing a deeper emotional connection.

During a birth scene, this can reveal fears, hopes, and real-time reactions.

This technique can also be used to contrast the external chaos of the situation with the internal calm or turmoil of the character.

It allows for a more nuanced portrayal of the experience, capturing the complexity of emotions that might not be outwardly expressed.

Tip 20: Portray a Range of Emotions

A birth scene is emotionally rich, and it’s important to portray a wide spectrum of feelings.

From anxiety and pain to elation and relief, these emotions make the scene relatable and impactful.

For example, the transition from intense pain to overwhelming joy can be a powerful narrative moment, resonating deeply with readers.

Additionally, consider the emotions of other characters involved.

Partners, family members, and medical staff all have their own emotional journeys.

Their fears, hopes, and reactions contribute to the overall emotional tapestry of the scene, making it more engaging and realistic.

Tip 21: Include Symbolic Elements

Symbolism can add a layer of depth to a birth scene.

Elements like water, dawn, or certain colors can symbolize purity, new beginnings, or transformation.

For instance, the first light of dawn as the baby is born can symbolize a new chapter in life.

These symbolic elements can enrich the narrative and offer additional layers of meaning for readers to interpret.

Choose symbols that resonate with the themes of your story and the experiences of your characters.

Symbolism can be subtle, woven into the narrative in a way that enhances rather than detracts from the realism of the scene.

Tip 22: Reflect on the Past and Future

A birth scene can prompt characters to reflect on their past and contemplate the future.

This adds depth and context to the story, providing insight into character motivations and aspirations.

For example, a character might recall their own childhood or consider the kind of parent they want to be, connecting the birth scene to broader themes and character arcs.

These reflections can also highlight changes in characters and their relationships.

The anticipation of new responsibilities and the realization of life changes can be poignant moments, deepening the emotional impact of the scene.

Tip 23: Use Contrast

Contrast can enhance the impact of a birth scene. Juxtaposing the intensity of labor with moments of tranquility,

or the clinical environment of a hospital with the emotional warmth of the moment, can create a dynamic and engaging narrative.

This technique can highlight the extremes of the childbirth experience, making the scene more vivid and memorable.

For example, the starkness of a hospital room can be contrasted with the intimate connection between the birthing person and their partner, underscoring the personal nature of the event amidst a clinical setting.

Furthermore, contrasting the expectations of childbirth with the reality can add an element of surprise or realism.

Characters might have preconceived notions about how the birth will go, only to find the experience vastly different, offering a chance to explore themes of expectation versus reality.

Tip 24: Incorporate Sensory Details

Sensory details can make a birth scene feel incredibly real and immersive.

Describe not just the visual aspects, but also the sounds, smells, and tactile sensations.

For instance, the sound of a newborn’s cry, the sterile scent of a hospital room, or the comforting touch of a loved one can all contribute to the atmosphere of the scene.

These details help create a fully realized setting that readers can easily visualize and connect with.

Pay attention to how these sensory experiences affect the characters.

The chill of a hospital room, the softness of a blanket, or the sound of reassuring voices can evoke emotional responses and reveal character traits.

Sensory details can also be used to heighten tension or provide relief, depending on their context within the scene.

Tip 25: Show the Immediate Aftermath

The moments following the birth are as important as the birth itself.

Describe the immediate reactions – the relief, exhaustion, and joy that follow. This might include the birthing person holding their baby for the first time, the cutting of the umbilical cord, or the reactions of family members.

These moments can be deeply emotional and signify the culmination of the childbirth journey.

Also, consider the practical aspects of the aftermath.

The medical care for the birthing person and newborn, the cleaning up, and the first attempts at feeding are all part of the experience.

These details can add a sense of realism and completeness to the scene.

Tip 26: Address the Theme of Life and Death

Childbirth inherently involves themes of life and death, and addressing these can add depth and gravity to your scene.

The precarious balance between the joy of bringing new life into the world and the inherent risks involved can be a powerful narrative element.

For example, reflecting on the fragility of life during a complicated delivery can add emotional weight to the scene.

This theme can also be explored in the characters’ thoughts and reactions.

The joy of a new parent contrasted with their fear of potential loss can provide a complex emotional landscape for the reader to navigate, deepening the impact of the scene.

Tip 27: Use Authentic Dialogue

Authentic dialogue is essential in a birth scene.

It should reflect the characters’ personalities, the setting, and the situation’s gravity.

Medical professionals might use technical language or comforting phrases.

Family members express emotional support or concern.

For instance, the professional calmness in a doctor’s instructions can be juxtaposed with a partner’s emotional words of encouragement.

Dialogue can also be used to reveal character dynamics and relationships.

How characters communicate under stress can tell a lot about their bond and their individual personalities.

The dialogue should feel natural and fitting for the situation, adding to the scene’s realism and emotional depth.

Here is a good video that will help you write birth scenes in your stories:

Mistakes to Avoid

When writing a birth scene, there are several common mistakes to avoid.

First, over-dramatization can detract from the scene’s authenticity. While childbirth is intense, exaggerating the drama can make it feel unrealistic.

Second, ignoring the physical and emotional complexity of childbirth can result in a shallow portrayal.

Childbirth is not just a physical process; it involves a wide range of emotions and experiences.

Another mistake is neglecting research.

Accurate representation of the childbirth process is crucial for credibility. Inaccuracies can distract knowledgeable readers and diminish the scene’s impact.

Also, be wary of clichés or stereotypes about childbirth, as they can make the scene feel generic and uninspired.

Finally, failing to consider the scene’s relevance to the overall story can lead to a disjointed narrative.

Ensure the birth scene advances the plot or character development in a meaningful way.

50 Best Words for a Birth Scene

Transformative
Excruciating
Heart-wrenching
Overwhelming
Life-affirming
Anticipatory
Awe-inspiring

50 Best Phrases for a Birth Scene

“The rhythm of contractions surged like ocean waves.”
“A primal roar echoed through the room.”
“Tears of relief mingled with joy.”
“Their hands clenched together in unbreakable unity.”
“A surge of overwhelming love washed over her.”
“The first cry pierced the tense air.”
“Exhaustion battled with exhilaration.”
“In that moment, everything changed.”
“The pain was a journey to an incredible destination.”
“Life’s fragile beginning unfolded before their eyes.”
“With each breath, a new strength was found.”
“The room was thick with anticipation.”
“Eyes met, conveying unspoken support.”
“A new heartbeat echoed in the room.”
“Their world contracted to this single moment.”
“Time stood still, then rushed forward.”
“A miracle wrapped in tenderness and strength.”
“Pain transformed into overwhelming joy.”
“A journey of both body and soul.”
“The final push brought forth new life.”
“Tears streamed down in awe and love.”
“A bond instantly, irrevocably forged.”
“A chorus of congratulations filled the air.”
“The struggle gave way to sublime joy.”
“In an instant, a family was born.”
“Love exploded in the room like fireworks.”
“Strength she never knew she had emerged.”
“A blend of fear, anticipation, and hope.”
“New life cried out into existence.”
“A profound sense of accomplishment enveloped her.”
“Witnessing the miracle of life’s beginning.”
“The culmination of months of waiting.”
“A new chapter eagerly began its story.”
“Sweat and tears marked the effort.”
“Emotions raw and beautifully unguarded.”
“In awe of life’s relentless cycle.”
“The first touch was electrifying.”
“A journey through pain to pure love.”
“Every struggle melted away in their embrace.”
“The room vibrated with intense emotion.”
“A new voice joined the world’s chorus.”
“Shared glances full of love and pride.”
“A moment suspended between pain and paradise.”
“The fierce power of creation.”
“Surrendering to the intense tidal wave of labor.”
“In that cry, all was reborn.”
“Exhaustion wrapped in indescribable joy.”
“The first gaze into new eyes.”
“A flood of relief and uncontainable happiness.”
50. “Embracing their newest love, tender and small.”

3 Full Examples of a Birth Scene in Different Genres

Here is how to write a birth scene in different kinds of stories.

Romantic Drama

In the soft glow of the hospital room, Maria clutched Alex’s hand, her breaths short and rapid.

The pain was a tidal wave, overwhelming yet transformative. “You’re doing amazing,” Alex whispered, his voice a lifeline in the storm of contractions. As the final push came, a tiny cry pierced the air, slicing through the tension.

They looked at each other, tears of joy and relief mingling.

Maria, exhausted yet radiant, held their newborn, a tangible symbol of their love, their journey. Alex leaned down, his lips brushing against her forehead, a silent vow of everlasting love and partnership.

Under the ancient tree, illuminated by starlight, Elara’s cries mingled with the night’s whispers.

The air was charged with magic, the sacred ground pulsating with life’s ancient rhythm. As the final, grueling push came, a burst of light enveloped the clearing.

The baby’s cry was not just a sound but a harmonious chord that resonated with the world’s soul. Around them, the forest seemed to bow, acknowledging the birth of the chosen one, foretold to bring balance. Elara cradled her child, her eyes reflecting the stars above, knowing their lives were forever entwined with destiny.

Historical Fiction

In the small, candle-lit cabin, away from the raging civil war, Emma’s labor was a stark contrast to the world outside.

Her husband, John, a soldier home on leave, held her hand, his uniform stained and worn. The midwife, Mrs. Bates, moved with practiced ease, offering words of encouragement. When their baby finally arrived, his cry was a beacon of hope in a time of despair.

John, teary-eyed, gazed at his son, a symbol of life’s persistence even amidst chaos. Emma, tired but triumphant, whispered a promise to her child, a vow of a better future, born from the ashes of turmoil.

Final Thoughts: How to Write a Birth Scene

In the story of your writing journey, penning a birth scene is a chapter that brings your narrative skills to life.

Now, continue exploring more writing adventures on our website.

Read This Post:

How To Write A Confession Scene [Ultimate Writer’s Guide]
How To Describe A Crime Scene In A Story (100+ Examples)
How to Write Hospital Scenes (21 Best Tips + Examples)
How To Describe a River in Writing (100+ Examples & Words)

National Institutes of Health (NIH) – Research on Childbirth experiences

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alpacinoutd Senior Member

When a baby is born.

Discussion in ' Word Mechanics ' started by alpacinoutd , Oct 11, 2020 .

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); I am trying to describe a newborn baby at the hospital. When a baby is born she moves her hands and legs. How can I describe that? Also, what can I say about the color of a newborn baby? Can I use reddish? Please tell me what you think about this and how it can be made better: The little girl was frantically flailing in the nurse's hand. Her reddish body was helplessly moving in the air as she screamed for no one knew what. Is there a book in which the process of birth is depicted, from which I can learn?

J.T. Woody Book Witch Contributor

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); alpacinoutd said: ↑ How can I describe that? Also, what can I say about the color of a newborn baby? Can I use reddish? Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Unfortunately, when I google this, the results are tutorials about pregnancy!

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Patient Education Animation: Labor and Vaginal Birth (you're going to have to google on your own for examples of live births. I would suggest the search terms "childbirth video" and "vaginal birth video" to get started)

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Could you please tell me if "flailing" work to describe the movement? The little girl was frantically flailing in the nurse's hand. Her body was helplessly moving in the air as she screamed for no one knew what.

Mckk Member Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); "frantically flailing" sounds like something a toddler would do, or at least an older baby. Honestly, all newborns really do is sleep. I mean, I admit I was utterly out of it when I gave birth and really didn't see anything till the doctor plonked her on my chest, but I do not remember any flailing, nor actually, any crying. Gosh I remember so little of it lol. The pain had been mind-bending. But no, she was really, really peaceful. She wasn't crying - she was breathing and she was snuggled, and her eyes were black and gazing ahead, like there were no thoughts behind them. It sorta depends on your character's POV. If this was a desperate, terrified new father who's just had the shock of his life hearing his wife scream bloody murder for the last several hours, I can understand why he might describe things the way you have lol. If you asked at any maternity ward, I'm sure the midwives and doctors would tell you and if you're not afraid, I'd google vaginal birth footage or documentary on Youtube.

marshipan Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Yeah babies have some white coating on them called vernix. Both my kids came out being tanner than they eventually ended up. That's all I remember about their skin tone at the time. I think newborns can get flushed if they are wailing hard. I think their movements are a bit jerky at first.

Cilogical Banned

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Newborns generally come out a pinky, purply colour mainly due to running at lower oxygen levels whilst in the womb and due to the trauma of being squeezed through a small hole. The core may be pinker and the arms and legs might look purple/blue. Once they’ve taken their first breaths and starting breathing on their own they pink up nicely. It requires a pretty big breath to inflate their lungs so that’s partly why most babies cry - it creates a higher pressure (like blowing up a balloon requires a bit more effort to get it started). Babies are also wet and slippery when born. We look for movement of the arms and legs as that indicates good tone but they don’t generally “flail”. They might wave their arms and kind of scrunch up their legs.

Seven Crowns Moderator Staff Supporter Contributor Contest Winner 2022

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); The little girl feebly flailed in the nurse's hands. Her reddish body screamed for no one knew what. I'd crunch it down like that. Leave your adverb on only one phrase (e.g., frantically & helplessly). I used "feebly" because it kind of combines the two. This has given me a good idea for a story. I like writing historical horror. I'll quadruple the words with setting detail and getting the MC in scene. That should get me through page 2. .SpoilerTarget"> Spoiler: Notes for page 1 and 2 Dr. Brimble topped his bourbon high, near to overflowing. He flipped over another tumbler and poured me half a glass as well. "It is unseemly, doctor," I said, waving away the offer, as a gentleman should. "At such an early hour?" Brimble made no comment. As he imbibed deeply, the two of us sat in conversational silence. Behind us, a fly battered itself senseless against the panes of his office window, while from the adjacent avenues carried the trundle of carts led by shouting stevedores, the clop of porter's drays upon the flagstones. Always, always, that fly, buzzing madly. Brimble did not seem to blink, not until the outside traffic stilled. He set down his glass and spoke. "The Geoffreys child." "The delivery went well?" I asked cheerfully, and then seeing Brimble's grimace, hastily grasped at decorum. "Or perhaps . . . in God's hands? It is not our place to--" "It was as cold as a stone, and yet . . ." Dr. Brimble leaned forward. "It was watching me, Oliver." "Sir?" "A desiccated thing, too sickly to draw breath, which I assure you, it did not, and yet it had drained the soul from poor Mrs. Geoffreys. It made not the slightest motion. Its bloodless body lay cupped in my palms, like a bundle of winter, and all I felt was emptiness." He turned his hands over and flexed his long fingers, the fingers of either an artist or a surgeon, he'd once told me, and had then boasted how he was both. " Damnatio ad bestias ." "My Latin has gone to seed, sir." "That is what said to me, Oliver. The cursed thing spoke. It threatened to feed me to the lions." haha! I'll try to finish this one this week. I'll shoot for 4500 words. I wonder if any open markets fit my theme?

googletag.cmd.push(function() { googletag.display('funpub_f97b71d1955d6bd753724d07ae7afe56'); }); Seven Crowns said: ↑ Dr. Brimble topped his bourbon high, near to overflowing. He flipped over another tumbler and poured me half a glass as well. "It is unseemly, doctor," I said, waving away the offer, as a gentleman should. "At such an early hour?" Brimble made no comment. As he imbibed deeply, the two of us sat in conversational silence. Behind us, a fly battered itself senseless against the panes of his office window, while from the adjacent avenues carried the trundle of carts led by shouting stevedores, the clop of porter's drays upon the flagstones. Always, always, that fly, buzzing madly. Brimble did not seem to blink, not until the outside traffic stilled. He set down his glass and spoke. "The Geoffreys child." "The delivery went well?" I asked cheerfully, and then seeing Brimble's grimace, hastily grasped at decorum. "Or perhaps . . . in God's hands? It is not our place to--" "It was as cold as a stone, and yet . . ." Dr. Brimble leaned forward. "It was watching me, Oliver." "Sir?" "A desiccated thing, too sickly to draw breath, which I assure you, it did not, and yet it had drained the soul from poor Mrs. Geoffreys. It made not the slightest motion. Its bloodless body lay cupped in my palms, like a bundle of winter, and all I felt was emptiness." He turned his hands over and flexed his long fingers, the fingers of either an artist or a surgeon, he'd once told me, and had then boasted how he was both. " Damnatio ad bestias ." "My Latin has gone to seed, sir." "That is what said to me, Oliver. The cursed thing spoke. It threatened to feed me to the lions." Click to expand...

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19,898 quotes, descriptions and writing prompts, 4,964 themes

newborn baby - quotes and descriptions to inspire creative writing

a new social contract
a pregnant woman in labour
a young child
baby blanket
babysitting
breast feeding
let down reflex
nursing a baby
post natal care

The newborn baby arrives, the greatest gift God can bestow, a sacred responsibility of love and nurture.

Her newborn baby smile was as sweet as a summer strawberry and filled me with a sunshine I never knew existed in the world.

In the bouncy chair lies a newborn, his arms aloft as if dreaming of cuddling the mother who stands so closely by. Harriet slides her pinky into his open hand and watches as they curl around it, the baby sleeping on. She feels his soft breath on the back of her hand, still damp from the rain outside. Already her school day is melting away as she watches her new brother...

Georgie holds the newborn to her shoulder and he's smaller than a bag of sugar from the grocers. Tiny toes peek from his blanket, dangling in the summer breeze. His head, a crazy mass of brown curls not yet rubbed bald from lying in his crib, wobbles beneath her supporting hand. She can't believe how tiny new humans are, how vulnerable, how awe inspiring.

The room is deserted as Noah steps in, his eyes travelling over the debris of the recently vacated squat. Stepping in before the needles are cleared up isn't wise, but as he steps backwards a black bin bag rustles on the far side and the shape of a tiny hand pushes against the plastic. Noah feels a wave of cold shock and picks his way over the floor, sending a silent prayer for them both. He peels back the plastic and pulls out a newborn, umbilical cord thick and dangling. The baby opens her mouth to cry and and all she can manage is a quite snuffling, her throat dry and sore. Noah holds her close, hand over her back to give her some warmth, and picks his way back over the mess. As they break out into the sunlight he begins to run...

Newborn cries fill the room and the father bursts into tears of relief and joy. He turns his glossy eyes to his wife and in a voice that's almost broken he tells her they have a beautiful daughter. Through her exhaustion she smiles, and she lets her eyes leave his face to take in the baby that is being brought to like on her bare skin. In that moment she begins to cry the sweetest tears she's ever known, all the pain of moments before melting away. She's only minutes old and her tiny girl begins to root, mouth wide, her instincts strong.

I want to drink this moment in, this moment with my little girl in my hands. Her eyes are more brilliant than I could have dreamed they would be, her hands more delicate. She feels so light, looks so perfect and smells so divine. I am her protector for as long as I live and my love for her will last for all time.

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How to create an authentic child’s voice in fiction

March 05, 2013

Writing about: childbirth.

· Where and how does the woman’s water break?

· Does she go to the hospital, or does she give birth at home or in a car?

· Describe the commotion when she gets to the hospital.

· In the delivery room, what is the woman feeling? This should include her emotions and pain.

· What are the nurses doing to help her and the baby?

· Is the baby’s father in the room? Get into his head. Describe how he is feeling about becoming a daddy. Is he nervous for his wife?

3 comments:

Thank you for the tips, this really helped me. I'm only 18 and I started a fanfiction, I was struggling with some of the chapters, but your tips on writing really helped.

I'm glad my tips helped you. Good luck with your fanfiction! :)

I'm an 18 year old writer and I plan to make the birth scene as complicated as possible but I don't know how to bring out the emotions. Could you help

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KathySteinemann.com: Free Resources for Writers

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

400+ Words to Describe Hands: A Word List for Writers

(Discover even more words in The Writer’s Body Lexicon .)

Why Should Writers Call Readers’ Attention to Hands?

The way people take care of them is a partial reflection of personality and lifestyle. Hands should suit your characters.

Manicured nails might signal affluence or vanity.
Cracked hands could be an indicator of a blue-collar worker or a surgeon who scrubs in several times daily. Plot twist: Maybe the character is a maintenance man who pretends he’s a surgeon.
Large spots and blotches will appear on aging skin.
Muscular hands could be a sign of someone who performs manual labor or participates in weightlifting.
Give a woman muscular hands, and readers might see an aggressive Type A personality.
Chewed fingernails might be the result of nervousness or insecurity. Perhaps a firefighter who’s a closet arsonist?

Don’t Overdo, Though

If something about a character’s hands is important to reveal occupation, personality, or circumstances, take advantage of it. However, avoid lengthy descriptions. Readers won’t remember that your protagonist is wearing a beige sweater with tan slacks, brown leather shoes, opal earrings, and an engagement ring.

Ah, an engagement ring. That could be important. Place it on the finger of an old lady with age-spotted hands, who grips her cane as she hobbles toward a bridal shop, and you create an intriguing scenario.

Don’t bore your readers. Give them only what they need to drive your story.

Fingernails

Fingernails are frequently the first thing people notice about hands.

A protagonist might wear vibrant colors or pastel pinks. Nails could be uncolored or black. The choice of color often tells more about a character than several sentences of backstory.
A bride could flourish nails painted with blossoms that match her bouquet.
Males, especially younger males, wear nail polish nowadays. A Goth might choose black polish that matches his hair and clothing.

How are your character’s nails shaped? Would any of the following apply?

A to S almond, angular, arched, arrowhead, ballerina, blunt, concave, convex, curved, edge, fan-shaped, flared, flat, lipstick-shaped, mountain-peak, narros, oval, rounded, spoon-shaped, square, squared-oval (sqoval), stiletto

You could refer to nails as:

B to W barbs, bayonets, blades, claws, cutlasses, daggers, fishhooks, forceps, grapnels, hooks, lances, meat hooks, needles, nippers, pincers, quills, spikes, spines, stabbers, talons, tentacles, witch hooks

If your character is an evil assassin, you might want to describe his fingernails as daggers or stabbers .
A jealous ex-girlfriend might have witch hooks or tentacles .
Do a doctor’s nails break through rubber gloves in the middle of surgery? Lances or forceps could fit the situation.

Adjectives to Describe Fingernails

Make sure the nails match the hands. Would you want delicate nails on sinewy meat hooks?

A to M acrylic, artificial, bitten, broken, bloody, brittle, buffed, cracked, chewed, clawed, clean, crusty, delicate, dirty, false, feline, fissured, fragile, gilt, glossy, grimy, grubby, hard, immaculate, ingrown, jagged, lacquered, long, manicured, multicolored

P to Y painted, pale, plastic, pointed, polished, ragged, ridged, rimmed, rounded, scrubbed, shaped, shapely, sharp, shiny, short, smooth, soft, splintered, split, stained, stiletto, thin, tiny, torn, tough, trimmed, unclipped, unpainted, varnished, yellow

Verbs and Phrasal Verbs

Hands gesture during conversations, form fists when a person is angry, massage when they console. Do any of these verbs match your characters?

B to O brush (against), caress, claw (at), clench, close, clutch, crochet, cup, curl, drop, entwine, extend, fiddle with, finger, flap, flex, fold, form fists, fumble, furl, gesticulate, gesture, grab, grasp, grip, hold, knead, knit, knuckle, iron, jab (at), lace, leaf, lock, loosen, massage, open

P to W paint, palm, pare, peel, place, play, point (at, toward), poke, prod, pray, press, pull, punch, put, raise, rest, rub, rummage, salute, scour, scrape, scratch, scrub, shake, shove, sign (sign language), slap, slick, slide, smear, smooth, stretch, strike, stroke, swab, swipe, tag, tap, tat, tear, tense, tighten, touch, tug, twine, unfurl, unlock, wash, wave, weave, wipe

Well-placed props add substance.

A string tied around the finger could show a senior with memory problems. Or a husband trying to remember items on a grocery list.
A heart-rate monitor or fitness band would be appropriate for a jogger. Or someone learning to control heart rate and pulse in order to beat a lie detector.
Sugar- or flour-coated hands could be clues that a protagonist is a baker. Or a serial killer with a fetish.

B to M bandage, bracelet, brass knuckles, carpal-tunnel brace, class ring, driving gloves, elastic on the wrist, engagement ring, evening gloves, finger cot, finger splint, fishnet gloves, fitness band, flour, friendship ring, garden gloves, gauntlets, hand cream, hand sanitizer, heart-rate monitor, lint, Medic Alert bracelet, mittens, mole

O to W opera gloves, paint, pedometer, pen, phone, piercings, prosthesis, rowing gloves, scar, sailing gloves, semicolon on wrist, splint, string tied around a finger, sugar, tape on wrist, tensor bandage, tickets, tissues, wart, watch, wedding ring, wrist brace, wrist exerciser, wrist pager, wristband

Wrists, usually ignored by writers, also tell a story. They could be:

B to W bandaged, bony, broken, delicate, flexible, fractured, limp, slender, sore, sprained, strong, swollen, thick, thin, tiny, weak

If someone’s hands are balled into fists, knuckles might be the only body part another character notices. You could describe them as:

A to S abraded, bare, battered, bloody, bony, bruised, enlarged, hard, injured, iron, knobby, knotty, large, piggish, prominent, purple, skinned, stiff

Use hands too often, and the word will annoy readers. English offers a multitude of options. Analyze what the hands are doing, and then assign a noun that suits them. In addition to the following, check the Verbs and Phrasal Verbs section for words you could convert into nouns.

B to W boo-boo soothers, bruisers, bunglers, clutchers, dukes, feelers, fever busters, fists, grabbers, ham hocks, hams, healers, killers, meat hooks, mitts, muffs, painkillers, paws, pokers, prestidigitators, punishers, scratchers, shadow puppeteers, slappers, spankers, stranglers, tarantulas, teasers, titillators, tranquilizers, vises, whackers

Hands, like hair, absorb scent from their environment. See the Scent section of 400+ Words to Describe Hair for ideas.

More Adjectives

Many of the following adjectives could describe hands, fingers, wrists, or nails.

Discover more from KathySteinemann.com: Free Resources for Writers

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8 thoughts on “ 400+ Words to Describe Hands: A Word List for Writers ”

You are awesome, Kathy! Fabulous job!

Thanks, Betty! Have a great day.

Oh my gosh! So helpful! Never considered half of this, and I can use this to describe so much more! Ty!

Thanks, Maryann.

Good luck with your writing!

Thank you so much!! This has helped me with my homework assignment! Hopefully i get a good grade! Thanks xx

🙂 Thanks for visiting my site, Alaynah. I hope you received an excellent grade.

Great resource! Thanks, Kathy.

My pleasure, Robert! I hope you find it useful.

This list and the others I’ve published here will end up in a book sometime in 2017.

Do you have anything on your wish list that you’d like me to research?

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How To Write Characters Who Are Children

8 Necessary Tips for How to Write Child Characters

This topic has been on my mind a lot these last few years, since both my recently published dieselpunk Storming and my upcoming historical superhero tale Wayfarer feature prominent roles filled by eight-year-old kids. In writing these characters, my goal as been simple: avoid the following bad example, which is permanently and regrettably imprinted in my brain.

I can’t remember the name of the book (which is probably just as well), but I still cringe every time I think of its opening paragraph: a cutesie little girl cozying up to a stranger, with an, “Ah gee, mister.”

All too often, this is how we’re tempted to write our child characters. But, please, resist the temptation. Not only are these sorts of children 2D caricatures, they’re also a wasted opportunity. Wielded with power and understanding, your child characters can transform your fiction.

8 Guidelines for How to Write Child Characters

Consider the following eight dos and don’ts of how to write child characters.

4 Don’ts of How to Write Child Characters

1. don’t make your child characters cutesy.

There’s only one Shirley Temple–and I sincerely doubt her “ohmiword” would have been as cute when conveyed on the stark black and white of a novel’s page. If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable. Forced cutsiness rarely works any better than forced humor .

In figuring out how to write child characters, avoid Shirley Temple syndrome.

Poor Little Rich Girl (1936), 20th Century Fox.

2. Don’t Make Your Child Characters Sagely Wise

“Out of the mouths of babes” may have its moments of truth. But–with the rare and organic exception–don’t turn your child characters into little fonts of wisdom. It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

3. Don’t Make Your Child Characters Unintelligent

Don’t confuse a child’s lack of experience with lack of intelligence . Don’t have your child characters offer wide-eyed “I dunnos” or stand around with a finger in their mouths and a blank expression on their faces. It’s fine if they don’t know what’s going on, but don’t forget for a minute that their brains are whirring behind the scenes, trying to figure it all out.

4. Don’t Have Your Child Characters Use Baby Talk

In writing child characters, the same rules apply to their dialogue as to the use of any kind of dialect : don’t abuse it. Don’t spell out their lisp. Don’t make a habit of letting them misuse words. And, at all expenses, avoid “ah, gee, misters.”

4 Do’s of How to Write Child Characters

1. write your child characters as unique individuals.

Don’t ever put a “child character” into your story–anymore than you would “an American character” or “a female character.” Create a fully realized individual who has a reason for existing beyond mere accessorizing.

Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype. Remember yourself at the age of your child character? Remember how smart, determined, curious, and individualistic you were? A trick I like to employ to get myself back into the child mindset is to look at photos and videos of myself at the correct age.

When I'm figuring out how to write child characters, I think back to myself as a child.

2. Give Your Child Characters Personal Goals

The single ingredient that transforms someone from a static character to a dynamic character is a goal . It can be easy to forget kids have goals, because when we think of goals, our adult brains tend to think of lofty things like earning a million dollars, finding true love, or saving the planet. In fact, however, kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Consider Harper Lee’s enduring Jem and Scout Finch and their determination to lure their reclusive neighbor Boo Radley out of his house so they can see him. If I had to pick one single reason why How to Kill a Mockingbird is so enduringly beloved, I wouldn’t choose its powerful themes. I would instead point to Scout Finch’s passionate desire for something or other on every single page. This, all by itself, is what makes her such a fascinating and dynamic character.

Want to know how to write child characters? Study Harper Lee's To Kill a Mockingbird.

To Kill a Mockingbird (1962), Universal Pictures.

3. Make Your Child Characters Smart

I look at my two-year-old niece and I see a brain every bit as intelligent as my own looking back at me out of those big brown eyes. She may not know as much as I do, but that doesn’t mean she isn’t as smart.

Now, of course, you don’t have to go out and write a bunch of little Einsteins. But don’t make your child characters “dumb on purpose.” In Wayfarer , I had a blast writing the relationship between my twenty-year-old country boy protagonist and his eight-year-old street-savvy sidekick Rose. Their different lifestyles and educations placed them on basically level ground, despite their age differences–which created all kinds of interesting story scenarios.

Kinda like Dickens’ ever-epic Artful Dodger:

Oliver! (1968), Columbia Pictures.

4. Don’t Forget Your Characters Are Children

Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

One of my favorite passages of all time is from Louisa May Alcott’s Little Men , in which the little boys ruin the little girls’ tea party. One of the boys, banished from the room, lies down on the floor to listen under the door as the girls are comforted by being told the boys are surely sorry, to which this particular miscreant bawls, “I ain’t!”

Perfection.

Little Men (1998), Brainstorm Media.

The beautiful dichotomies of childhood offer so many wonderful opportunities for creating subtext and irony within fiction. Use them wisely and with as much insight and understanding as you’d apply to any of your adult characters. The result may be one of the most powerful characters you’ll ever write.

Wordplayers, tell me your opinions! Have you ever written a child character? What was your chief concern in how to write child characters? Tell me in the comments?

K.M. Weiland is the award-winning and internationally-published author of the acclaimed writing guides Outlining Your Novel , Structuring Your Novel , and Creating Character Arcs . A native of western Nebraska, she writes historical and fantasy novels and mentors authors on her award-winning website Helping Writers Become Authors.

What do you consider the upper age limit for a child?

My youngest character is a 12 year old girl in the midst of puberty when the story begins. She’s the youngest of three children in her family.

My main story is a teen romance. My major characters are spread across the teen years, 19, 17 14 and 12 at the beginning. I examine relationships (marriage, dating, courtship, sex) and how the differently aged characters have varying experiences.

The youngest character is smart and observant, but doesn’t understand all the nuances and usually takes things at face value. She is then frequently frustrated and irritable at being resented or excluded by the older ones, which eventually leave her vulnerable to being manipulated.

One of my betas had suggested an ‘ending’ for her, and given that inspiration, I created a subplot which I wove into already written chapters, creating the proper action-reactions and foreshadowing. Knowing the resolution of her story really helped me flesh out the character.

I think 15 is right there on the finish line of childhood. Puberty’s the corner certainly, but there’s still a lot of childlikeness left over for a few years. The teens are their own “section” of life, but there is a little overlap I think. It’s a bit arbitrary, really.

In addition to what I already mentioned, they 12 year old is whiny. The 14 year old says she’s all grown up, tries a grown up life, but is inexperienced and gets in over her head. The 17 year old guy is maybe too experienced, while the 19 year old main character is socially very late to the game and his maturation is the main arc.

It’s nice to mix things up and skew characters a little off the “norm” (for good plot reasons). None of us are 100% “normal.”

As a 15 year old, I think that’s a good assessment. Obviously, teenagers all develop at different speeds, especially depending on the pressures they face. Many 15 year olds will think themselves all grown up, and consider themselves to be independent and not relying anymore on their parents. They might make stupid decisions, and they will certainly date and even experiment sexually at this age. However, some 15 year olds are rather childish (as I consider myself), they might also be quite mature, or at least in a mature situation. Many 15 year olds have jobs, and might even take college courses where they’re interacting with adult college students. It’s important to note that this is not the same for all children, and many 13 year olds will be mature and act grown up, although its less likely a 15 year old will be all that immature as an average 13 year old.

Nice post. I’ve never seen anything on how to create children so this was nice. Good points to balance our development of them as well. I’ve got two little bambinos ages 5 and 7. They’re bright kids and certainly aren’t dumb. As you said, a child’s intelligence is either misunderstood or underestimated. Even a 7 or 8 year old brain is surprisingly keen. They’re always very curious, observant and don’t miss a beat!

I think the main thing this is pointing out is not to misrepresent children in our fiction, or misapply them according to clichés.

I would think it’s particularly helpful, when writing children, to have an actual kid in the house. It keeps everything fresh and real.

I am writing short story prequel dark fantasy. The problem my main character in most the story which is a flashback is 6-7 years old being held by mages. Now the problem i am having is that the character is comming off more teenage like. His maturity level. I wanted him still have resentment but be more timid as a 6 or 7 year old.never written kids this young before. Really putting this character through the ringer so to speak.

Worst child character writer who regularly includes children – Orson Scott Card. They’re miniature adults. The literary equivalent of Velasquez paintings.

Best child character writer – J. K. Rowling because not only do her kids talk and act like kids, but they are age appropriate and they grow over the length of the series. She’s the best.

In Card’s defense (although I hear where you’re coming from), his kid characters usually *are* geniuses.

If you write historical fiction based on timeframes earlier than 1800, children were expected to act like little adults. “In its 1642–1643 session, the assembly passed a law mandating that any servant arriving without an indenture and who was younger than twelve years old should serve for seven years, servants aged twelve to nineteen should serve for five years, and servants aged twenty and older should serve for four years.” – Virginia colony law. These kids were indentured to learn a trade, and they left home around the age of 7 to do so. Today’s adults often don’t realize a ten-year-old in the past might have been a British army officer. The notion of “childhood” is a relatively new concept that is only around 200 years old, yet it is heavily fixed in the minds of modern writers.

Well, keep in mind Orson Scott Card typically writes children that are forced to grow up at an early age. Ender would be more child-like had he not endured so much, even before he excepted going to Battle school. His sister and brother also went through a lot. And the children in Speaker for the Dead are the same.

Mmm… good post. I actually have at least five really ‘little’ siblings to use as guinea pigs, so it’s never been difficult for me at all! 😛 One thing among many that I’ve noticed about kids is that they are less reserved about expressing their feelings or wishes— as in your example from Little Men, which by the way I’ve always loved. 😀 They are also more likely to say things they don’t mean— I hate you, for instance. It’s usually nothing but a moment’s irritation. They overreact in many, many ways because while they may be intelligent, they lack experience to know that it would be wiser to keep silent. They can scream and whine and fuss one moment, and the next be happy as a clam, because they haven’t learned to bridle their feelings, or at least keep them private! 😀

Yes, they don’t always have the foresight to judge how their actions will affect others. They’re always trying new things to see what new reaction will result–and filing it away for future use!

This is the lack of self -control that comes through growth. But you have to admire their honesty. They’re much more genuine than adults! We tend to mask our true feelings too much.

True! And it makes their dialogue way more fun to write!

Kids are hilarious! Fun to observe. Curious how your character will be in your next release.

Ah, she was a ton of to write. I can’t wait to share her!

Very true, Kate Flournoy. Their “filter” isn’t complete. They say what they think, even if it’s a transient, willful idea that occurs to them – “I hate you.” They are impulsive. They are not always truthful! Depending on their age, they react instead of respond to things. That changes as they get older. Eventually, “I hate you!” becomes manipulative instead of just an outburst of self-centered thought. (As does “I love you.”)

I liked your article very much, Ms. Weiland, and especially what you said here: “Their different lifestyles and educations placed them on basically level ground, despite their age differences.” I think this is the whole key to writing characters of any age, but it’s most noticeable in children. This is a big world and children’s lives vary. Some suburban children start school at the age of 4 and then move in lockstep with other children exactly their own age until they graduate from college at the age of 22. Others live in urban areas, sometimes in “bad” areas. Some live in remote areas, pleasant or unpleasant. Some watch television and play video games. Some don’t. Some have a lot of responsibilities and some don’t. Some spend all their non-school time in sports, lessons and organized social activities. Some don’t. Mine were raised mostly in the country, homeschooled, until they went off to the military and/or college. They interacted with people of all ages and occupations from an early age. All of those children are probably perfectly well-adjusted, normal kids, but they are all very different from each other. That is the key to creating youthful characters. They will mature, but while they are still children, their worldview, thoughts, responses and behaviors are shaped by their limited environment.

What you wrote in your article still applies to all of them, though. One of my favorite writers is repeatedly guilty of the “wise child” error. It draws me out of the story every time (but I like her stories enough to continue reading them). Children are not miniature adults, but they are individual people and should fit into the world of the story as smoothly as the adult characters.

Children are not innocent. They are little sinners just like adults. 🙂

“Children are not innocent. They are little sinners just like adults.”

That’s perfect! Babies and young children have zero understanding of morality. They must grow into an understanding of it, so in some sense, they’re greater “sinners” than are adults.

I think one of the reasons the “innocent” child trope gets perpetuated is because they often make their mistakes without a full understanding of the consequences. When they lie and steal, they don’t necessarily intend or understand the harm they cause to others. And, as adults, we understand that and don’t take it personally the way we would if another adult did the same thing.

The first thing children know is what they want/need (it takes to later to distinguish the two concepts). All they can do at first to get attention is cry, but even with just that they start to observe those around them, seeing what works for them and other in getting others to satisfy their needs.

What takes longer is understanding a concept of future, with which comes 1) delayed gratification and 2) consequences, for themselves and others.

Lastly, it’s moving away from only being concerned with themselves and taking others into consideration

They’re focus on their want/need makes their character arcs a lot easier to get at!

Lots of lessons learned through your reply. I was kind of neglecting the over-reaction part, but thanks for the heads-up Cathe. 🙂

Yes, children have a very difficult time regulating emotion, and as well, are more comfortable sharing it. Boys are often pressured out of this sensitivity (as well as girls, toxic masculinity isn’t the only pressure on children behave without emotion).

I love this! I’m neck deep in the first draft of a story in which my two main characters are a 7-year-old girl and an 8-year-old boy. This list was encouraging and gave me some great ideas!

I intend the story for an adult audience (not MG or YA), and I worry that I have the problem mentioned above – that my children sound and act more like adults than like kids. And while they are intelligent characters, they’re not exactly Demosthenes and Locke either. Any more tips on writing realistic child-like (vs. cutsie childish) speech and actions?

Studying the source themselves is the best place to start. We have to streamline their dialogue–their lisping, their false starts, their rambling–to some extent, just as we do any realistic dialogue. But it’s a great start for understanding how kids think and express themselves. I see you have kids of your own (thanks for the FB friend request!), so you’ve already got in-house research sources!

I’ve only used kids as minor characters. I like point 2 of the don’ts. Horror movies seem to like breaking that one for their fey child trope. I think those kids are supposed to be an update of the ancient tropes about the least credible person being the one with the most clue in the story. It *may* work when the supernatural is a factor, but usually isn’t that convincing even then.

I haven’t used kids much. In my WIPs two small children get a Greek-chorus role, where they just ask someone a minor question that the audience is asking anyway. I show two little boys playing with their toy soldiers as they’re escaping with the heroines and the rest of their family. The first heroine, who is their cousin, sees their innocent play and prays for their survival. That’s about as cute as I was willing to get with the kids.

In the same story the first heroine has a 12-year-old cousin she’s close to. The girl is present when the heroines are discussing the danger they’re in. The girl stays very quiet and the heroine pretends not to notice her. She senses the girl wants to know what’s going on but is afraid her parents will banish her from the “council” if they realize she’s there.

I included that moment partly because some of my readers are likely to be teenagers and may consider the heroine a cool older sister because of that “pet the puppy” moment. They know what it’s like to want to be at the adult’s table 🙂

Actually, this is a great example of how kids can be used for “pet the dog” moments–although we have to be careful with that, since saving/being nice to children can become cliched or sappy if not handled deftly. Sounds like you did it right.

I haven’t written a child character in a very, very long time, but I’m contemplating writing a short story from when my protagonist in my series was about 14, and the thought intimidates me quite a bit, mostly because I was soooooo different–and sheltered–at her age. I want to do it, but I think I’m going to have to gear myself up for it.

But who is your target audience? Maybe people like yourself? You know which population group is the largest market for youth books? Homeschooling families. They buy books – a lot of them. There are thousands of books written for angsty teens in horrible situations, but not as many written for and about “sheltered” teens in healthy families. I say “sheltered” as the word might be used in regard to teen sex, drugs, family dysfunction and school life, etc. They know about those problems, but they don’t usually live it out and don’t want to read about it in every.single.book available in the YA library. There are a lot of fantasy/sci fi books these days, and that’s been a good thing, but very few other modern books for mid-grade or teens in that market. It’s a big and potentially very profitable market.

Good point, Cathe. It’s also true that sheltered teens have their own problems and concerns and they like to find relatable characters with the same problems in fiction.

I’m not sure if you’re advocating for more or fewer in regards to “sheltered.”

My WIP is this kind. I have two “normal” middle class, suburban families. The teens go to parties and are exposed to beer, liquor, marijuana, porn and sex. Should kids in college socialize and date those in high school? Should there be a bright line at 18? If not, where? Committed relationships vs casual sex. Parents who keep liquor around the house for martinis. Petty teenage jealousies. Parents who belittle their kids. Dealing with anxieties. Pregnancies, abortion…and faith.

So much stuff to deal with as a teenager, and these are just some of what I have in my story.

Sounds like a fun challenge! You’re writing what you know, since you *were* a fourteen-year-old girl, but you’re also getting to explore new angles and use your imagination with someone whose teenage experience is different from your own.

What about using your younger siblings as a model for your child characters? While still making the characters totally different from the actual person, of course, but still.

Totally. I use my memories of myself and my siblings at young ages, as well as other youngsters I know.

For one WIP, I have a four year old as a main character. Caroline is opinionated and daring, but at the end of the day, she is just like any other four year old and needs her mama. For my other WIP, I have a seven year old little girl, Molly. She is the main character’s daughter, but she isn’t even born yet. The only time you meet her is in the prologue and the epilogue. Her part is first person, present tense, so it is fun to explore how a kid sees things. I am glad that it is only a few paragraphs, though, I don’t like writing present tense, haha.

Child narratives are fun, since, as you say, their thought and speech patterns are decidedly different from adults. Makes it easier to find their voices sometimes. I didn’t use a POV for my girl pickpocket in my Wayfarer WIP (although I’m thinking I will in the sequel), but I gave a POV to the mute little boy in Storming , which was a lot of fun, since it was the only way he was able to communicate in words.

One book I especially recommend for studying a child’s POV done right is Gene Stratton-Porter’s ‘Laddie’. The narrator is an eight/nine year old girl, and Gene Stratton-Porter did a fantastic job of translating how a child sees the world through that character’s eyes.

I can’t remember if I read that one or not, but Gene Stratton-Porter, in general, was really great.

My two most recent (unpublished) novels have tween-aged boys as their protagonists, but as characters are singularly different from each other. Each have their own idiosyncracies, their own unique voices, and their own particular ways of addressing their predicaments. One novel is SF, the other fantasy; both protagonists modelled after my own experiences because both books were conceived after my own boyhod interests, however neither protagonist could be identified as a projection of myself, as I always mould my characters as distillations of people I have encountered in my life rather than after myself. I vividly remember my childhood and the considerable panoply of individuals who drifted into and out of my circle of experience, good and bad and every shade in between. After re-reading each novel, I remain convinced I have rounded, authentic and engaging characters, and I am pleased to have gone through your list of tips and nodded agreement with each.

It’s great when you can take two characters in the same distinct character type–children in this case–and create very different personalities, to explore different facets of the type. It’s a really great way to bring things to realistic life.

Thankfully, being a ‘Brit’, I’ve never had the temptation to have any character utter ‘Ah gee Mister…’ – Oh, hang on… Yes, I had an adult say it to another as a piss take. Irony isn’t dead.

Seriously though, there’s some good advice in your piece. I hadn’t thought of it, as I haven’t featured characters younger than teenagers in any of my books… yet.

Thanks for that. It’s given me an idea for the book I’m writing at present. I’ll need to seed a child character into the earlier chapters to give continuity and credibility, but an ‘obnoxious brat’ could prove quite useful to my preferred ending. A kid’s unexpected appearance could just delay the gunman’s trigger finger for that brief, but necessary moment. Thank you.

Obnoxious brats are a ton of fun to write! Insta-conflict. Children are great for bringing out otherwise invisible facets of adult stories. They bring a whole different dimension to the plot and theme.

I’ve used kids a couple of times to create both a grounding and a hope for the protagonist, when his life is at a low ebb. One child appeared out of nowhere. I didn’t plan him, and his presence in the story took on a wonderful, unexpected twist. How do I explain it? A DP (displaced person) after the end of WW II, a boy about 10 is unable to speak. He has been fostered by the ex-wife of the protagonist, a German general. The defeated general, groping for his future, meets the boy. They call the boy Michael. Nobody knows his real name. In a sharp exchange with an American officer of the occupation, the general speaks in English to prevent his ex-wife from understanding the argument. Afterward the boy follows the general on foot through Heidelberg…

…On the slope between the upper and lower Philosophenweg they walked among the garden plots. The boy took Erich’s hand and pulled him to the markers, red ribbons on four stakes outlining one plot among many… Erich bent to pull a weed. He stepped forward and pulled another, and then another. There were not many weeds to pull. “English?” A whisper beside him. Startled, he straightened and looked down at the boy. Silence. He waited. The boy stared at him intently, willing him to speak. “Are you English?” Erich asked in English. The smallest whisper, “Yussss.” It took a couple of hours to pull the story out. They spoke in English. At first the boy used only single words in whispers. Erich had to find the question, and then waited through long struggles for the answer. Word by word the boy’s voice grew stronger, but he spoke in fractured sentences with the vocabulary of a five year-old who had never gone to school. When at last the story came together, Erich sat in the warm afternoon sunshine, running soft moist earth between his fingers, his mind benumbed…

Yes, we use children carefully. Here my intent was to show a number of things through the boy. The brutality of the German occupation of France, the receptiveness of a tough career soldier, the bonding of two enemies in friendship, the promise for a peaceful future. But above all, I remembered that this child was only a child. The subtext was a result of a child’s innocence, linked with the horror of watching war desecrate his existence.

I loved Michael!

Just a quick scan of the tips you send me via email and I can say the information is very helpful for aspiring children books writers

Thanks for stopping by! Glad you found the article helpful. 🙂

Great tips. I wonder if they would also apply, if the children are cutesy little forest creatures? 🙂

Good point. And I’d say: definitely. When you said that, it immediately put me in mind of my little brownie-like creatures in my portal fantasy Dreamlander . They’re very childlike, even though they’re full-grown, so almost all of these things would apply to them–especially in keeping them from being too cutesie.

Any advice on how to write neuro-atypical children? I myself have Asperger’s, and from what my parents have told me, I very much fit the “little professor” image, as Hans Asperger called it, by the age of 7 or so.

There is a growing market for that, if you can do it realistically and naturally. I think you would need to establish (relatively early) WHY he is a “little professor.”

For those writers with no experience with these things: research. For you, though, you have first-hand experience and can write similar characters from your own knowledge. The guidelines I’ve listed here are definitely only guidelines and can be safely ignored whenever there’s a sound plot reason for doing so.

Great do’s and don’ts’s. Maybe because I used to write stories and journals when I was a kid, I’ve never had the problem of making my child characters cutesy or stereotypical. A few things I’ve noticed my kid characters have in common are:

1. Imagination plays a big role in their lives. They can entertain or scare themselves with it and unintentionally lie by ‘coloring’ the truth.

2. They’re curious.

3. Right and wrong is more black and white. Motives/feelings don’t play into things quite as much, unless they’re trying to weasel themselves out of trouble.

4. Kids, they just wanna have fun. 😉 If you can’t help them with that, they’ll create their own.

I like your number 3. In eighth grade I had a science teacher with a reputation for being very strict. One day, I forget why, he suggested we devise a punishment for an infraction, I forget what. The one the class came up with took him by surprise.

“My goodness! I’m supposed to be the strict one! You guys are harsh.”

I remember being confused by his assessment. Coming from him that remark was really saying something, but we just could not see the nuance. I wondered what I was missing.

I forgot about that incident until now. Good insight. Maybe I should go read my own journals from back then 🙂

Funny story, Jamie! Ha! Firsthand experience is the best tool for fiction, in my opinion. You should definitely dig out those old journals. 🙂

Great observations. I wish I’d kept my journals and writings from when I was young. I’m sure I’d find some interesting insights in re-reading them now.

I was thinking the same thing. I don’t even have all the stories and also my first novel any longer with me. 🙁 (which BTW I wrote at the age of eleven)

Yes, I got rid of my first novel–written at about that age as well. Kinda sad. 🙁

We had actually moved, and due to not enough space my mother had left it behind. 🙁

Well, you have a better excuse than me. I burnt mine because I was embarrassed. :p

I don’t often write child characters mostly because I struggle with them. I’m saving this post. These tips are helpful.

Child characters are definitely challenging, but they’re a lot of fun. I say go for it!

Love this! Not a lot of articles delve into creating child characters. I love that you said a child’s intelligence is either misunderstood or underestimated. Children are certainly not dumb; they are playfully curious and observant. Thanks again, Ms. Weiland. Your articles are very timely and provide encouragement to aspiring authors like me.

I think one of the mistakes we, as adults, make is to think children are a breed apart. They’re just little adults with an undeveloped awareness. The essence of the soul is just as complete in them as it is in us. We’re wrong to underestimate them.

Glad you enjoyed the post!

You should give this advice to David Cage, a self-shaped auteur who makes video games like Heavy Rain with one of its many many many problems being the plot revolving around a missing child, who’s not so much of a character as he is the idea of a child. All the children in that game are stupid, no show character of their own and are impossible to take seriously due to the poor acting.

Though Clementine from TellTale’s The Walking Dead is the best example of how make a child character as an actual character.

The “idea of a child”–is, essentially, the root of all the problems, ever, with poor child characters.

I have yet to play Heavy Rain, but in games, there is this amazing inspiration of a child character, Ellie from “The Last of Us”. What I liked about her was even in all the harsh situations, she always seek fun and adventure (as mentioned above being a part of children mindset). And is the biggest impact in the character arc of the adult protagonist. He is forty something, but learns a lot as the story unfolds from this little girl. Kinda first inspiration for my current WIP.

The plot of my book is entirely carried by two thirteen year olds, so this was a good post to read. I’ve thought about it quite a lot, actually, although 13 is a good deal more mature than 8 🙂 I do try to remember back to when I was that age. I can remember big dreams, idealism, my first crush, all that imagination and curiosity; I wasn’t self conscious in many ways, but I was convinced of how awesome I was at certain things (which I can now look back and see I wasn’t so good at). I was naive. I was ready to try anything, and when the horse I was riding nearly bucked me off, or I fell out of a tree, I didn’t get scared and give up. Children are wonderfully complex, little packages with all sorts of things packed in. No wonder they’re hard to write!

I look back at myself at 13 and I’m always shocked how grown-up I was. It puts my observation of other 13-year-olds today into a whole different perspective. Same goes for most ages, actually.

I’m actually working on a story now with three young teens (14-15), where one of them is a teen with probably 2-500 years of experience, while still staying closer to childhood than adulthood (think Peter Pan). That’s going to be interesting!

Let’s hope he uses his experiences a little better than Peter Pan. 😉

Hopefully! =)

Great topic! One of the best child characters I’ve ever seen pulled off in fiction, in a role that was incredibly challenging for numerous reasons, was the character Sieh from The Hundred Thousand Kingdoms. The authors total nails his childlike nature and explains beautifully what it means to truly act like a child, with all the selfishness, impulsiveness, love, and fun that comes along with it.

I haven’t read that, but I can see I shall have to!

I had it with me for quite a while. But with all the TBRs I hadn’t given it much heed. But now I guess I will have to read it. It’s research you know. Not an excuse to read a novel.

Sounds like a great read!

I’d add Terry Pratchett as a good author for child characters, especially his early Discworld novels (e.g. Esk in “Equal Rites”) and his recurrent ‘Tiffany Aching’ character.

I reckon a lot of his writing for young female characters was inspired from watching his own daughter Rhianna growing up.

I’ve only got one child character in this particular book. I mean, there are a few others, who aren’t really in for very long, but one main character who is a child. She’s eight, and growing up in a dystopian society. Most people in the lower class are born with some sort of superpower (nothing big, mind you), and this child is slightly telepathic–she just doesn’t know it yet. Kids don’t discover their powers until they’re about eight or nine, but this little girl comes up with some unexpected conclusions. She’s sweet and innocent, but now I wonder if I’m not making her too cliche. She doesn’t have parents, and the main character (who’s sixteen) and the guy (he’s seventeen) are the closest thing she’s got to family. She’s sad about her parents’ deaths, but enthusiastic about the future. But yeah. I’m going to have to go back and reread some of it to make sure she’s not too cliche, now that I’ve read this article.

Lots of interesting possibilities with a burgeoning telepath!

Interesting idea. I have my character’s parents death as well. But I am kind of going in less sad girl part. Since as far as I can tell from my childhood memories, children are also pretty good at blocking bad thoughts and somehow, someway, find contentment and happiness. Of course there can be different kinds of children and some situations are harsher than others. I would love to see how other writers pull it off.

I generally find that if a child is a minor enough character, it’s fine to give them basic stereotypes so long as there’s something that sets them apart. In the one book I wrote, the series main character has twins that only appear on a handful of pages, so they’re portrayed as very energetic, they love martial arts (in this book they’re 9) and they’re sometimes troublemakers. For children who only appear in around 10 pages in a novel, that’s probably enough.

If your child character is either important to the plot or the drama though, you’d better give them the same kind of character depth that you’d give an adult, while still remembering that they’re a child. Relying on base character traits is a good way to make your readers hate your child characters.

Even 5-year-olds have an idea of what they want to be when they grow up, even though it’s most likely to change a lot. Some are quiet and observant, some are shy, and some are bubbly – you can even have a mix in the same family. As a kid I was very shy at times, and I had a legalistic mind (at least when I behaved), while my older younger brother was very loud and a bit of a troublemaker. My youngest brother was always somewhere in-between.

Same goes for any walk-on character. We don’t want to characterize them too much, or readers will feel they’re more important to the story than we intended.

I forgot I’ll be writing about the early childhood years of some of my main characters. The catch is, they’re not human. So I have to figure out what they’ll be like at a young age. I’ll do my best to humanize their experience as children, definitely don’t want to go off the deep end.

That’s extra fun! You get to explore all the aspects of your unusual world.

I read a lot of writing advice on the intarwebs, and most of it is rather questionable, in my opinion. This blog is the only one I find to always be both pertinent and on point, without ever sounding preachy or condescending. Thank you, Ms. Weiland, for all your work.

By the way, I didn’t realize you were an editor on Game of Thrones ?

https://www.dropbox.com/s/52i421nzl1h7j4w/Katie%20Weiland.png?dl=0

That’s the OTHER Katie Weiland, a Brit apparently, and possibly the reason ours uses her initials for her professional name. http://www.imdb.com/name/nm1752459/?ref_=fn_al_nm_4

Thanks, Phong Le! I appreciate your kind words very much. 🙂 And, yes, as Joe says, that’s not me–although I get asked that a lot. 😉

Are we SURE these aren’t the same person? http://i571.photobucket.com/albums/ss157/stillers7/two%20katies_zpskoaseh7n.png

Hah! It’s a body double. Kate is probably a secret agent for MI-6. BUSTED!

Hah. I’m *pretty* sure I’ve never won an Emmy. 😉

I posted this comment on Goodreads first, before I realized you had a separate site:

Good post. I’ve got some child characters in a couple of my WIPs, two of whom are main characters I follow to adulthood, and one of whom is a side character who stays a child throughout the story. Based on these tips, I think I’m doing pretty well with them so far.

I’ve helped teach children’s Sunday school at my church for the past several years, and I also took a bunch of early childhood education classes in college. Even though I did those things because I like kids and just wanted to learn how to teach them better, I think the experiences I’ve had have indirectly helped me a lot in creating realistic child characters.

Like any kind of unknown quantity in fiction, the more we can be around children and experience them, the better we’ll be able to write them. I need to go hang out with my niece more!

“2. Don’t Make Your Child Characters Sagely Wise”

This is the one that irritates me the most. You see it so much, especially in horror movies. Yes, kids can be smart, but when the six-year-old is solving all of the mysteries while the dumbfounded adults stand around scratching their heads, it just pulls you out of the story and reminds you that what you’re watching or reading isn’t real.

Well, you know, when the kids have an in-line source to the demon, it does kinda make sense they’d be more in the know. 😉 But, yes, I totally agree: done to death.

“but I still cringe every time I think of its opening paragraph: a cutesie little girl cozying up to a stranger, with an, “Ah gee, mister.””

*Violent cringe.* Don’t forget to add “Yes, dear Mother” (usually from girls) to that list. 😛 These child character types date back to the early days of TV when character development (and allowable content) were much different. I think too many writers look at those old TV shows and take their cues from that and forget to objectively observe reality– like child relatives or their own experiences. But children in those older shows are not typically reliable as references, especially in today’s entertainment.

I have to say one thing, though. Even though he does come off as a child stereotype sometimes, I LOVE Opie Taylor in the Andy Griffith Show. He’s somewhat of a stereotype in that he’s the super-well-behaved little angel (and “Ah gee, mister”-ish), and I’ve seen him exhibit those extremes in maturity level, but I still find him an enjoyable character. In particular, my favorite episode is “Opie and the Spoiled Kid”. (Andy Griffith Show fans know exactly what I’m talking about.) This one is different from most of their episodes because you get two children in contrast with each other, and the writers took this time to poke a little fun at that “little angel” stereotype I just mentioned. 😀

Also the episode “Opie’s Rival,” where Opie fakes being sick so Andy can’t go on his date, which causes trouble. We get to see a naughtier side of Opie there, too. 🙂

You raise a good point, in that, as authors, we should be taking most of our source material, period, from real life rather than other people’s fiction. It’s impossible not to draw inspiration from books, movies, and television, but we always need to return to our real life experiences to keep ourselves from perpetuating other people’s falsities.

Hey, K.M. You know what I really appreciate about your blog? You actually tell us what we CAN do instead of just what we can’t do. So many speakers and teachers say, “Don’t do this, don’t do that.” and we’re left wondering, “Well, what in the world can we do?” So, thanks for being practical and realistic.

Hah! 😀 Well, I well admit there are about a gazillion more ways to do thing right than to do them wrong. But I’m so glad to hear you’re enjoying the blog!

I have a total of 12 first cousins (don’t get me started on extended family), most under the age of 7, whom I see every week. And yet, I still angst over getting children right. Still, lots of good story material. The boys were just recently musing over what crayons tasted like, to which the youngest replied “Doughnuts”.

Only 12? Although none on my Dad’s side, I have 53 firsts on my Mom’s, not including the steps

Hah! That’s classic. That totally deserves to go in a story.

Sometimes I feel you are somehow keeping an eye on my Scrivener and writing just what I am stuck with. My little side-kick character is a twelve year old girl. Recently lost her father and has a dynamic savior-who-annoys-the-hell-out-of-her kind of relationship with my protagonist. Every step is a challenge for me. I know she is a smart kid, who has seen a lot. She is also on the sweet scary spot where kids take the first step to adulthood. But in all of those, she still is a kid. Every dialogue uttered by her, every step of the way, I have to stop and double-check myself. And the ability to learn and the understanding that they aren’t know-it-all makes them harder to write than even dynamic adult characters. Thanks for rising this in your blog, this will be the kind of post I will even read all discussions of. Since I really want to learn about it. 🙂

Kinda sounds like my WIP’s protag/sidekick relationship! It was a ton of fun to write.

Glory in the guts I guess. They are really fun to write, but the internal editor is in full on Muhahaha mode too. A bittersweet life of a writer.

So it goes. 😉

I have enjoyed the dynamic, unexpected element that younger characters bring to a story. Even if they’re only minor characters, they can add zest and fun and some comic relief. Likewise they can call depths out of more prominent characters, and they can bring poignancy and pathos too. I love it all. I have invested in two younger characters myself. I don’t deal with their actual growing up, but they do end up with their own arcs in the greater scheme. One has what might easily be considered a charmed life, while the other has a life of divided loyalty and love, though of great privilege. He carries weight beyond what his youth can bear, and it marks him. Whereas she… Yes, she begins with a charmed life. But she comes to have a cursed one too, and it is in this that she finds her agency and her voice, and the strength of character to make her life her own, and to make it a good one, whatever else is going on in the world. It is not young adult literature in her case so much as it is her own arc within the greater scope of what is going on with the main character. Nor are his troubles necessarily focused on a son and a daughter larking off into the world against his say-so, or whether she in particular ought to feel his teeth again. As they say, he has bigger fish.

My two pence, for what it’s worth. 😉

Sounds good! Complex child characters are great–and, interestingly, they’re little utilized. So when they do appear, they’re all the more interesting for their scarcity.

Hello! This is a very helpful post! There aren’t a lot regarding children. I guess I’m on the right track for my 8 year old boy/girl twins even though there’s no kids around me. They have a very interesting love/hate dynamic and I agree that children are very fun and refreshing to write. When I started last year’s NaNo they were complete tag-alongs. As I rewrite I did not expect them to turn out to be this complex, especially because it’s a fantasy adventure. I don’t even have to think about their dialogue, they already do it for me. I have to make sure they don’t derail though. And yes, individualizing the twins helped me a lot. I don’t even call them that anymore, they just are. Of course, I still have a lot to learn (and me from them).

Characters who write their own dialogue are the best kind! Twins sound like fun.

Hey there! Love your podcast and blog, absolutely some of the most insightful material ever. I’m a comics creator, not a novel writer, but I find your advice applies just as much to stories across different mediums.

This article was perfectly timed for me because I’m in the process of publishing my adventure webcomic Bonabyl, where the main characters are children, but the audience are adults. Thankfully, I don’t think I’ve fallen into the tricky traps you mentioned just as yet, but being conscious of them now, I can actively avoid them in the hundreds of pages ahead of me ?

It’s strange writing a long-form webcomic because instead of writing for years, editing, making sure it’s how you want and then publishing, you’re actually publishing each page as you finish it. Then a couple of years later you publish the last page and your audience has already read the book. Haha.

Thanks again for your amazing work!

This sounds great! Especially love the title.

Thanks for the great advice. Writing an origin story on the Bogeyman from his POV and this info is very handy for writing the kiddies he “interacts”with!

That sounds like a lot of fun!

My characters are mostly in their 20s, and Amelia’s cousin is based on my own. I did add in my cousin Bianca, and she might come in, though she’s probably going to be a minor character.

Never thought of it in those steps.

Great article. Quite interesting.

I wrote a 12-13 year old, and the best way i found of writing him was deciding how he relates, not to adult, but to other kids. Who does he like, who can’t he stand, who does he idolise. It was far more useful to developing his character than how he related to adults.

Oh boy. My favorite brain child of mine is a 6 year old little girl. What makes her really hard to right is that she’s been a child for thousands of years. She’s not an adult in a child’s body, but her vocabulary is slightly more advanced than your average kid. Ir’s hard to write dialogue that sounds young and ancient at the same time.

Anyway’s thanks for the great advice.

I think the thing I find hardest in writing children is knowing what they are capable of at each age. My brothers and I were close in age, and I’ve not spent much time around young kids (12 and under). Is what I’m writing too advanced for the average 4 year old? Is what I’m writing too babyish for the 8 year old? While you can allow individual differences, in general you need to hold close to the norm. So, as others have mentioned, it takes lots of observation and research. And if you know someone with a child the age you require, ask them!

I have had one instance where readers argued with my depiction of a certain child, thinking her behavior implausible. And, in general, she was right. But this child was intended to be “different”. I wasn’t saying all kids her age would act that way, only that she did. It was part of who she is.

Good article to address. I’m sure there are many writers who struggle with this more than I do. And even those of us who don’t, it’s good to be reminded of possible pitfalls.

I was starting to wonder if one of my child muses, who I based heavily off myself at that age, was too ‘adult’ like. I’m glad to see that she wasn’t! I did have to make her a child genius, though, as I’m currently VERY bad at, uh, dumbing down my language. ^^; …I’m fifteen and have had adults gives me looks for how I talk.

I am attempting to write a story with a 6 year old little girl as one of two main characters, the other being her “Aunt Daisy”, a colorful character who isn’t really the aunt but takes in the little girl when her mother is dying of cancer in the 1960’s. I want to tell the story from the POV of the girl, using first person present tense. This is posing a particular challenge because while I can easily draw upon my own memories at 6, writing them in the way a 6 year old would speak, or even organize thoughts, needs to be realistic but readable and interesting. Would you suggest I write from Aunt Daisy’s POV instead, or perhaps there is a method of relaying to the reader that while the story is present tense, the character is looking back in remembrance?

Any of the approaches you’ve mentioned can work well. It really depends on what will be the best focus and voice for the story.

This was a very timely article for me. I’m working on a first-in-a-series novel where my protagonist is 12. But I haven’t been around kids much lately–plus I’m an only child, and I constantly worry about what I miss when writing siblings. But my character is orphaned and will end up living with a group of boys (and raised by a mother-like character), so at least I have some experience with that. Every time I am around kids, though, I forget how enjoyable they can be, especially their imaginations.

Hi. i am not a writer; as a matter of fact, i find it hard to express myself. But i like imagining things a lot. I have so many ideas but i don’t know where to start.

I have a set of 8 year old twins in the fantasy novel I am writing, and events of the story have determined that one of the twins die. The death will be suicide – for particular reasons – making it a difficult scene to construct: due to it’s nature.

I don’t believe the scene can be avoided; you know how stories can write themselves once you have the cogs in motion. I can completely understand the impact such a scene may have on a reader, so I want to tackle it right. It’s making me doubt whether I should stay true to the story to include it, yet it feels wrong to cut it.

Do you have any tips on how to be sensitive with the scene, as it is concerning the suicide of a young child, whilst staying true to the matter of fact; and sometimes brutal truth of the world of my characters? There has to be a key balance somewhere.

I definitely believe in the importance of staying true to the needs of the story–even when it’s difficult. Two thoughts come to mind in this instance.

One is that you want to make sure the cause-and-effect are brutally clear. Why is this event happening? And what will be the fallout? This is the only way to keep events from seeming arbitrary or gratuitous.

Second, this is likely a scene where you will want to consider a “fade out.” Make it clear what’s happening, but weigh the graphic details.

Thank you for this post. I write romance and I know at some point, it’s inevitable…one of these characters is gonna have a kid. So far I’ve been dodging it because writing children intimidates the heck out of me. My own childhood is pretty hazy in my brain (I cannot, for the life of me, remember what motivated me as a kid. Other than a few moments of toe-curling embarrassment, I can’t recall many specific events either), I have zero interest in having a child myself, and I have no friends with children, so my immediate resources/experiences are pretty limited. It’s a little frustrating. It probably doesn’t help that I’m one of those weird women who just doesn’t really like kids either (and I’m terrified my dislike will bleed through my work). This post made a lot of sense, though, so I’m bookmarking it for the day I finally work up the nerve to add a child to one of my stories.

I’m writing about a couple of twin siblings aged between 12 and 13 in Victorian Era. By the time it happens, I make the kids more childish and innocent (at that time there was no internet or something similar, you know) or more mature and responsible than the kids of same age today? (P.S.: they act like children, not like adolescents). Sorry for my possibly bad English, I’m not American.

The best way to decide is to go the source. Research the children of the period (first-hand accounts, especially, if you can find them) to get a feel for what the average kid was like back then.

I chose this age for my characters because it is an age when the child has more independence, courage, rationality and a sense of justice, without ceasing to be childish. I suppose that would be similar in the Victorian Era. I’ll search, thank you ?

I started writing a story about an ten year old secret agent. It’s a light hearted funny story so she will not be a very realistic character. She is more of an adult in a child’s body (it’s intentional) but I wanted to keep childish traits and this post is very useful. Thanks.

In my current work in progress, there’s a six-year-old girl who told her teacher and her class that her father was a rapper in a dance club and her mother was a model – only, it’s a lie because her father is her mother’s pimp; the mother tells her that she did the only thing she could do. The girl saw one of her mother’s “clients” walk out of the trailer in which she and her mother live; the mother explained to her that she and the “client” were practicing making a baby. Aside from the girl having a lady of the night as a mom, she is the average six-year-old: she gets fussy when she has spaghetti for dinner four nights in a row, but she mellows out when she has chicken with her spaghetti; she asks why she has to do homework, she loves visiting her grandparents, and she wonders how Santa Claus can put presents under the Christmas tree when the trailer has no chimney.

I’ve read SO MANY terribly written child characters, even ones from well-known authors. Some were so bad I had to put the book down. So many cringe worthy things…

I think one of the worst was an older child describing blood, saying it was kool-aid, or something like that. It was awful because the child didn’t seem to understand the concept of blood at all….like, really? He’s never cut himself and bled?

Another author used a lot of baby-talk and the child was often confusing one word for another. It was unrealistic in the context and painful to read.

The main character in my current WIP is a 5-6 year old little boy. I have based him on my nephew of the same age. I am having great fun with this story where he rescues a princess (his sister), goes on quests and has a duel with a child-stealing boggart. He wins the duel totally by accident and instead of celebrating his is devastated because he hurt the monster.

How would you write a newborn in to a story.

As a POV character? You’d either have to make him obviously more aware and intelligent than is realistic or just focus on his sensory and emotional experiences.

Thanks for this breakdown of child characters, it’s definitely going in my ‘handy references’ folder.

My current WIP has my (adult) MC making a dangerous journey in the company of a couple of other adults and a half-dozen children. At first my MC can’t stand the other adults, and only stays with the group because he’s sure that they wouldn’t take care of the children properly without him. (He’s all kinds of wrong about this, but that growth is part of his arc.)

The children range from 5 to 15 years old, and have different personalities and backgrounds, but it’s still a struggle to write them realistically. The youngest is veering dangerously close to ‘cute’, and the ones in the middle are blending together despite being two years apart in age and light years apart in upbringing. The eldest is the easiest to write, because I can actually remember being her age myself. She sees herself as one of the adults, they see her as one of the children, and neither position is 100% true.

I’m drafting like mad this month (NaNoWriMo is helping) but I’ll be sure to refer to this list often during the edit.

I’m writing a story for an assessment piece and my main character is a 5 year-old boy. I’m finding it difficult to figure out what vocabulary to use and how to write it. I have good experiences with English narratives and usually get the best marks so I find it hard to keep it simple and not use such big words. Do you have any tips? Also I love this page it really helped with my character development.

Ultimately, accurately portraying a child is no different from accurately portraying any type of character. It requires research and awareness. I recommend digging up family movies when you or perhaps your siblings were five and studying them for starters.

I’m starting off a short film I’m writing with the two main characters (who will later age) as 8-9-year-old boys. I’m barely an adult myself, so I have some clear-ish memories of childhood innocence, but I always worry about their actions and what dialogue there is (only one character speaks, the other is completely nonverbal) feeling unnatural. This is immensely helpful–thank you so much for this article. I’ll have to keep this in mind as I do my revisions!!!

Thank you, this website is very helpful, I just had a one question, if that’s all right. I am wrighting a book, where a someone is a young child, around 5 or 6, and you said not to over do their incorrect speech, how do you think I could get my audience to understand how they are saying what they are, while adding a few mispruniciations here and there?

I would choose just a few words on which to emphasize the lisp via spelling. Otherwise, use the rhythm of speech to indicate it is a child speaking.

Kim, this is a wonderful article! Do you have a Tumblr blog so that I could reblog this for future reference? If not, would it be acceptable to create a Tumblr post with the text, give you full credit and a direct link back to your article so that others can find your site? I certainly understand why you might want to avoid that, but I figured there’s no harm in asking. Once again, love this post!

Glad you enjoyed the post! I’d rather you didn’t republish the entire article, but feel free to link back to excerpt.

I’d love to read a similar article on how to write old people. I couldn’t find a single article on the subject – even mighty google couldn’t help. We all remember what it was like to be children (hopefully), but none of us remembers what it’s like to be old, right? And if you don’t have living role models in your vicinity, it’s hard not to fall back to stereotypes…

One thing with old people, just like children, teenagers or anyone else – one size does not fit all. There are 70-year-olds in nursing homes and 70-year-olds still acting in movies. There are 90-year-olds still riding horses (Queen Elizabeth) and 90-year-olds that can’t get up off the couch. Some are mentally old and stagnant, but many are still mentally active and engaged and looking to learn and try new things.

Maybe that will help a little until Kim puts together something more in depth.

Sorry – should be Katie, not Kim.

I’m currently working on a story about a girl whose family hides a Jewish child during the war. I’m having trouble developing the girl’s sister, who is about fourteen or fifteen, and her little brother, who’s six. The sister tends to flip back and forth from kind and motherly to annoyed. The brother is a little naive (his teacher tells him that his Jewish friends are going to camp), has lots of friends in his kindergarten, and has a strangely logical imagination. Are they too stereotypical? And is there anything I can do to develop their characters more, while keeping the attention on the main character?

Take a look at the minor characters’ goals and motivations. You might find this post helpful: 5 Secrets of Complex Supporting Characters .

I’m attempting to write a revolving around a little girl with a sad past, a guilt complex and a conflict involving biological family. The new family that the girl is with is going to understand what the girl is going through and try to help her get on the path to recovery. But I’m stuck at trying to make this kid likable by the characters themselves. Morals aside, they need a reason to like this kid other than her being a kid whose parent’s and brother died because her uncle was an abusive,greedy scumbag. How do I do this without making her sound like a corny family movie?

Consider why you have liked (or disliked) certain children in your life. You may discover exactly the right traits to bring your character to life.

How would your approach on this change if you have established a framing device where the first person POV is much older and is looking back at the past at his time as a child? How do you balance sounding as a more “accurate child” with would an adult still describe things that way?

If the narrative is told from an adult perspective, then only the dialogue would need to sound childlike.

This is quite an interesting article I must say. It hit all the points that I disdain about child characters in fictional media and gave great advice at the end. I clicked on this article by chance as I was searching for advice for the lore of my backstory. You see, I don’t write books, I make video games so I am writing the lore as world building. The thing about my work is, while this article applies to real life children, I’m creating a world where youth is the majority while the elderly (i.e. after physical maturity) is the minority. It’s quite complicated, as you can guess, but to add to this, it is a fictional and fantastical version of our world where the majority are pre-teens but their mental state is grounded in our reality. To add to that, this game I’m making takes place in their version of the 16th century. So I have the challenge of trying to figure out, with these rules in place, how all that has happened from the beginning up to that point. What would the world look like if the majority were kids and they are the ones who shaped history?

I just wanted to share because I liked this article a lot and it got me thinking. But alas, I’m procrastinating. I better get back to work.

For my WIP, I’m having a main character who is a 29 year-old, but I am implementing a few flashbacks to when he was a child. This is very helpful, but at the same time, I’m not sure if I made him overly mature.

I want to write a fantasy story about a girl, she is at the beginning 12 years old and she is basicaly genius. Civilization is on a level similar to the aztec. Can you please give some sugestions on how to write genius kid?

I recommend researching prodigy children or those with extremely high IQs.

Very good article, thank you. I’m glad I found this because I also am wonder how to write character kids for a MG trilogy. One thing I do remember when I first started this is “don’t be afraid to get your characters into trouble.” I don’t remember where I saw it but I do remember the words.

Awesome! Thank you for sharing this great tips K.M. – very helpful!

Thank you so much for the tips K.M, truly a captivating character is what truly hooks a child on a book or even an entire series.

I have wrote a few child characters, but lately I’ve been working on a toddler character. She is a little girl, 2 and a half years old, and was abandoned from an abusive children’s home. Could I please get some advice on how to write her?

Pre-verbal children (or those who are not yet linguistically fluent) can be difficult to use as narrators, since you’re unlikely to want to frame the entire narrative through their limited vocabulary and grammar. I would recommend instead focusing on framing a more visual world, using language that is more abstract, to capture the way young children observe and understand without necessarily having the context to explain or bring correct meaning to a world that they are still learning how to navigate.

My character is a 9 year old girl who suddenly has dangerous magical powers she can’t control, and because none of the adults who could possibly teach her to control them have ever seen this happen with their own powers, they don’t know how to help her.

[…] story. Michael Schiff explains the 2 stages of creating a believable character, K.M. Weiland lists 8 necessary tips for writing child characters, and Hannah Heath has 7 tips for writing emotion into your […]

[…] How to write child characters […]

[…] How To Write Child Characters […]

[…] 8 Necessary Tips for How to Write Child Characters […]

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How do I describe a baby's cry?

How I describe a baby's cry in writing like the way baby Fig cried off-screen in part three of the movie Barney's Great Adventure ? Do I just say, the baby started to cry, or the baby began to cry? What do I say? and similar type of sounding cries.

word-choice

What is the significance?

The actual cry in this video is pretty soft. But the specifics don't matter as much as what you are trying to achieve in the scene.

That impact do you want the baby's crying to make? Are you creating sympathy for the overburdened mother dealing with the infant? Describe the cry as a demanding howl. Is this a bad mother? Then the cry might be a desperate keening wail. Has the family been murdered except for the kid? Then it could be a plaintive, neglected whimper. Do we want this to be kind of cute? Then it can be a baby's gentle call. Is the child being eaten by a Hyena?

Let's not go there.

But decide what the motive is for having the cry there, then use words and descriptors that evoke the feeling you want to cause. (If you want a specific take, tell me what the goal is in comments, if you are able, and I'll get back to you. Otherwise modify your question and I'll check back ).

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Adjectives for Baby: Examples & Describing Words

When it comes to describing babies, there is an endless array of adjectives that can capture their unique qualities. From their adorable little features to their boundless energy, babies are a source of joy and wonder. In this article, I’ll be sharing a variety of descriptive words that can help you paint a vivid picture of these precious little ones. Whether you’re writing a baby announcement, creating a baby shower invitation, or simply trying to express your love for a little bundle of joy, these adjectives will come in handy. So, let’s dive in and explore the wonderful world of adjectives for babies!

Table of Contents

How to Describe baby? – Different Scenarios

As a writer, I understand the importance of finding just the right words to describe a baby. Each baby is unique and special, and it’s essential to capture their essence in our descriptions. In this section, I’ll provide you with different scenarios and examples of how to describe a baby effectively. Let’s get started!

1. When a baby is curious: Babies are naturally curious beings. They have an innate sense of wonder and love to explore their surroundings. When describing a curious baby, you can use words like:

For example, you can say, “The baby’s eyes sparkled with curiosity as they reached out to touch the colorful objects around them.”

For instance, you might say, “The baby giggled and played, delighting everyone in the room with their playful antics.”

You could say, “The baby’s rosy cheeks and infectious smile made them absolutely adorable.”

4. When a baby is expressive: Babies communicate through facial expressions and gestures, and their emotions can be quite evident. To describe a baby who is expressive, consider using these adjectives:

For example, you might say, “The baby’s expressive eyes revealed a range of emotions, from joy to surprise.”

You could describe a baby as, “The little one slept peacefully, their face displaying an air of tranquility.”

Describing Words for baby in English

Adjectives for appearance, adjectives for behavior.

So, whether you’re a preschool teacher looking to expand your students’ vocabulary or a parent wanting to capture the essence of your little one, these adjectives will come in handy. Stay tuned for more examples and insights on describing babies in different scenarios.

Adjectives for baby

When it comes to describing babies, finding the right words to capture their unique qualities can be a delightful challenge. As a preschool teacher or a parent, you want to effectively convey the magic of babies through your words. With that in mind, here are some adjectives that can help you paint a vivid picture of these adorable little beings.

Positive Adjectives for Baby

Synonyms and antonyms with example sentences, synonyms for baby.

When it comes to describing babies, there are a variety of synonyms that can capture their unique qualities. Here are a few examples:

Synonyms	Example Sentence
Infant	The infant giggled as I tickled their tiny toes.
Toddler	The toddler wobbled across the room, exploring their surroundings.
Newborn	The doting parents cuddled their adorable newborn.
Little one	The little one clapped their hands with glee.
Bundle of joy	The bundle of joy cooed and smiled at everyone in the room.

Babies are full of charm, curiosity, and playfulness. Each of these synonyms highlights the precious nature of these little ones in different ways.

Antonyms for baby

Antonyms	Example Sentence
Fussy	The fussy baby refused to sleep, keeping their parents up all night.
Squirming	The squirming baby wouldn’t sit still during diaper changes.
Messy	The messy baby happily smeared their food all over the highchair.
Crying	The tired baby let out a loud cry, seeking comfort and attention.
Demanding	The demanding baby insisted on being held all the time.

It’s important to remember that babies can exhibit a range of behaviors and emotions, and these antonyms reflect some of the challenges caregivers may face. However, it’s important to approach these with understanding and patience.

Overall, finding the right adjectives to describe babies is a personal choice. Whether you use synonyms or antonyms, it’s important to remember that each baby is unique and special in their own way.

Describing babies with adjectives is a fun and creative way to capture their unique qualities and behaviors. Throughout this article, we have explored a variety of adjectives that can be used to describe babies, including synonyms that highlight their charm, curiosity, and playfulness. We have also discussed antonyms that describe behaviors such as fussiness, squirming, and crying.

It is important to remember that each baby is unique and special, and finding the right adjectives to describe them is a personal choice. Whether you choose to describe your baby as “adorable,” “curious,” “energetic,” or “restless,” the most important thing is to celebrate their individuality and embrace all aspects of their personality.

By using these descriptive words, you can paint a vivid picture of your baby’s character and create lasting memories. So, go ahead and have fun exploring the world of adjectives for babies, and let your creativity shine as you describe the wonderful qualities that make your baby one of a kind.

Describing blood: adjectives with examples, adjectives for age: describing words & examples.

As we navigate through life, one thing that remains constant… Read More » Adjectives for Age: Describing Words & Examples

Adjectives for Fight: Examples and Describing Words

Describe Crying in Writing—Without the Clichés

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

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

How to Avoid Writing Clichés when Describing Crying

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

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

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

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

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

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

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

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

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

Writing Different Types of Crying

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

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

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

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

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

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

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

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

Happy Crying

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

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

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

Angry Crying

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

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

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

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

Embarrassed Crying

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

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

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

Scared Crying

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

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

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

Pained Crying

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

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

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

Disappointed Crying

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

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

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

Frustrated Crying

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

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

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

Panicked Crying

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

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

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

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

Hopeless Crying

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

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

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

Writing Dialogue when a Character is Crying

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

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

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

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

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

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

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

How to Describe a Character Trying Not to Cry

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

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

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

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

How to Describe Fake Crying

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

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

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

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

Write Crying Realistically

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

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

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

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

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

Best of luck with your stories, writers!

How to Describe Clothing in Writing Without Boring Everybody

If you’re trying to learn how to describe clothing in writing, you’re probably like me:

You’ve only pretended to know what organza is. When you’re shopping for yourself, you know what you like but you don’t know how to describe it. And ninety-nine percent of the clothing descriptions in your first draft are just “jeans.” I get it. Clothing description is something I have to actively choose to create, too. It’s not an aspect of character design that bubbles up naturally from the depths of my creative soul. And as a reader, nothing bores me like an entire paragraph of detailed clothing description.

But I’ve also noticed that artful clothing description does make a character, a setting, and even a moment more engaging. It’s all in the craft.It’s good that you’re here to learn how to describe clothing in writing, because it’s a powerful tool. What your character wears reveals where they come from, how they rank in society, how they want to be perceived, and even how they feel about themselves.

These shallow details help us go pretty deep on character .

The good news is that attire is not only important, it’s also kind of fun when you start digging into it. You find that it’s about more than throwing out fashion terms and listing articles of clothing. It’s about building a life and a world, and that is something you can do.

Let’s talk about how to use clothing description as a storytelling tool, how to dress your character for their personality and setting, and how to make clothes interesting to anyone. Because it actually is possible.

Items of clothing laid out in an organized pattern: striped shirt, scarf, camera, watch, belt, phone, sunglasses, boots, and purse.

Why Clothing Description Matters

One very important aspect of describing attire well is understanding why you’re describing it in the first place.

What exactly are you trying to communicate about the character, setting, or situation?

The answer to this question gives you a ton of clarity. You suddenly know which details to include, which to leave out, and whether to call it a “blood-red cloak” or a “goji berry wrap.

”Let’s take a look at how clothing description indicates your character’s identity, goals, and culture.

Person wearing round sunglasses, white platform shoes, jeans, and a button-up shirt with a geometric pattern sits outside a cafe holding a bouquet of yellow flowers.

Clothes That Fit Your Character

Those of us who don’t get all jazzed about writing clothing descriptions often fail to consider that a good wardrobe has layers.

I don’t mean camisoles and cardigans. I mean what your character wears provides a clue to how they see themselves, how they want to be seen, and even how others see them.

Clothing description also presents an opportunity to play with different points of view . Maybe your character heads out on the town wearing a “daring leopard print jumpsuit,” only to have their best friend immediately ask where they got the “kitty costume.”

When you use clothing to define who your character is, remember that it can also clarify how they feel about themselves and how they fit into the world around them.

Here are some classic characteristics you can draw out through clothing description.

Conveniently, a lot of high status positions come with outfits or accessories that telegraph a person’s position in the hierarchy. This includes things like a pilot’s uniform, a tiara, or a Pink Ladies jacket.

But status can be communicated in more subtle ways, too. One of the first things I learned when I moved to L.A. is that writers do not dress “professionally” for big meetings in Hollywood. As a friend told me, “Wear jeans and glasses and have a favorite pen. Otherwise they won’t take you seriously as an artist.”

What are the rules of your character’s world? What’s the respected “uniform,” and does your character wear it?

It’s fun to play with power in clothing, because it's a relative concept.

One character might demonstrate their power by showing up to prom in a designer gown. Another might claim power by striding in wearing torn jeans and a tank top.

‍ Both can lose clout simply by the way their peers respond to their wardrobe choices.

Play with the question of presentation and power! It’s a good time.

A band t-shirt. A velvet scrunchie. A pair of starched Wranglers. A vintage polka dot dress with a sweetheart neckline.

I’d be willing to bet each of these items immediately brought to mind a semi-clear character. If you stopped to think about it, you may even notice yourself imagining things as specific as age, hobbies, and ambitions.

It really doesn’t take much. We naturally link clothing and identity, which is why wardrobe is such an effective tool for building a vivid character .

This one is simple, right? Give your wealthy character a pair of Louboutins and dress your non-wealthy characters in hand-me-downs.

That works. But it can also be fun to play with the confidence and ease that comes with wealth.

Your trust fund character might be completely confident showing up to a party in board shorts and flip-flops. Meanwhile, the character who works two jobs while going to school full-time might scour the Goodwill rack for a designer tag to help them fit in at the same party.

If I’m wearing lipstick with no plans of going out, one of two things is happening:

I’m in a great mood or I’m feeling like I have zero control over my life and failure is inevitable.

What your character wears can tell us a lot about how they feel or how they want to feel. A self-conscious kid tries to disappear inside their oversized sweatshirt. An anxious college student buys a flower crown in the hopes of feeling young and free at Coachella.

Clothes can betray our greatest joys and our deepest insecurities. So have fun with that.

Clothes That Fit Your Character’s Goals

As I write this, I am wearing jeans that are too big, a gray t-shirt I inherited from a former roommate, and a pilled hoodie from a lighting vendor that works with my friend’s husband’s company.

Given that I am writing alone in my apartment, you might rightfully conclude that my goal is to be comfortable.

But put me in a job interview wearing the same outfit, and you’d probably start making new guesses about my intentions. Am I trying to blow the interview? Impress someone with my indifference? Slog through another meaningless day in a world where nothing matters?

Or is comfort just that important to me?

Clothing tells your reader a lot about your character’s goals and motivations within a given scenario.

Which of these clothing types is your character most likely to reach for when starting their day?

Sturdy Clothes

This includes items like steel-toed boots, heavy denim, or tech-forward, snag-resistant superhero spandex.

If sturdy is a top consideration, your character might be expecting trouble or adventure. Maybe a bit of both. They’re probably less concerned with how they look (unless they want to look intimidating) and more concerned with things like survival or victory.

Attractive Clothes

Is your character trying to attract positive attention? Then this is their category.

Maybe they’re hoping to impress the cool kids or please their parents. Maybe their goal is to entice a mate. Or it could be that they want to be charmed by their own image when they look in the mirror. Either way, their goal is to be desirable, whatever “desirable” means in this situation.

Details about fit, cut, and material go a long way when describing the clothing of a character who longs to attract. Non-visual senses are big, too. Think touchable fabrics and the light scent of lavender soap.

Comfortable Clothes

Maybe your character is snuggled up in their fleece pajamas while the blizzard rages outside. Or they could be frantically running errands in leggings and a t-shirt.

Whether it’s a matter of indulgence or survival, feeling good is a deeply relatable goal. Help your readers feel the relaxed, organic cotton or the memory foam slipper, and they’ll feel your character’s priorities deep in their own souls.

Stealthy Clothes

This is a fun one. Does your character need to hide? Sneak around? Blend in?

Stealthy clothes bring to mind burglars clad in black outfits and soft-soled sneakers. But the definition of “sneaky” depends on your character’s situation.

Do they need a ghillie suit to blend into the natural environment? Or are you writing a spy character who dons Lululemon to infiltrate an upscale yoga studio?

Protective Clothes

Is your central conflict a life-or-death situation? Odds are, you’ve got a character who dresses to stay alive. Think armor, bulletproof vests, and bandoliers.

Your character might also have a job or hobby that requires protective clothing. Whether it’s a beekeeping suit, climbing helmet, knee pads, or sun-protective fabric, what your character wears provides a clue about what’s at stake in the coming scene.

Two Mongolian falconers dressed in fur, hats, and colorful pants ride on horseback with their falcons.

Clothes That Fit Your Character’s World

The first time I joined my family for our biannual Minnesota fishing trip after moving to L.A. from the Midwest, I found myself constantly losing my aunt and mother.

Every time we got separated in a public space, I discovered myself in a sea of mature women with the same haircut and pastel tops. I never thought of there being a uniform for Midwestern ladyness. It took leaving the Midwest to recognize it.

But that’s the case wherever you go. Our wardrobes are influenced by our age, geography, culture, hobbies, and a million other aspects of our worlds.

Even the non-conformists are influenced by societal norms. The surrounding culture dictates what they can’t wear if they want to be seen as free-thinking individuals. (Huh.)

All this to say: there is substantial storytelling power in a coral “Life is Good” t-shirt.

Here’s how to describe clothing in writing to show your readers the world to which your character belongs…

…or the world they’re desperately resisting.

Clothing is one of the easiest and most immediate ways to establish an historical setting. If your protagonist is donning a tri-cornered hat, loosening a corset, or strutting through town in a new toga, your reader has a good sense of time period.

Or at least they know what century they’re in.

Now, if you write historical fiction, it’s important to research the clothing of your chosen era. More on that in a bit.

Clothing reflects the resources available in a specific time and place. When describing clothing in writing, consider:

The time period of your story. (Has denim been invented yet?)
The geographical location of your story. (Would people living in this area have access to leather goods?)
Your character and community’s financial resources. (Where do they buy their clothes? How long do they need their clothes to last?)

You can also use this aspect of clothing description to paint a vivid picture of the world you imagined. Would the fashion designers in your fantasy novel make use of dragon scales? Are the characters of your dystopian novel forced to make do with burlap and mud?

Where does your story take place?

The answer can guide you towards certain fashion trends to inspire your character’s wardrobe. The geographical setting might suggest that your characters are expected to abide by strict rules for modesty or are celebrated for being wild and free.

And of course, location provides a clue for what it takes to be comfortable in the world of your story. If your character comes home and immediately sheds three layers of down and fleece, I’m going to assume they’re not in San Antonio, Texas.

Do your characters care deeply about looking respectable, or are they more afraid of putting on airs? What matters more to them: fashion or function? Do they strive to be humble before their god or do they want to spend this one and only life as their bold, ostentatious selves?

What is the prevailing value in the society of your story? Do all your characters embrace it? Who's your rebel, and how does their clothing reflect their defiant spirit?

How to Describe Clothing in Writing Without Dragging Down the Story

Hopefully, you now have more wardrobe ideas for your characters than just “red shirt, blue pants.” But what about the process of actually sharing these details in your novel ?

Let’s talk about how to describe clothing in writing organically . Like all forms of exposition, your goal is to deliver this information without pulling the reader out of the story. We’re trying to avoid, “Isabell gazed out the window, and by the way, she was wearing a white terry cloth robe.”

Here’s how it’s done.

Focus on Building the Scene and Character

First and foremost, remember that clothing description is still storytelling. You’re not infodumping. You’re working essential details into the narrative at the moment when they are most relevant.

It’s okay if Todd’s checks his designer watch three pages after you mention his silk tie. The reader does not need the full outfit in one go.

Also bear in mind that not all clothing descriptions have to be presented as “She put on x” or “He was wearing y.” You can draw your reader’s attention to an item of clothing by having your character draw on their jeans or fiddle with their collar.

Characters can also comment on or react to one another’s clothing, as long as the exchange reveals something about the world or relationship.

Don’t Show Everything

Our imaginations can do a surprising amount with just a few key details. If you tell your readers about Nanette’s light pink cardigan and string of pearls, you don’t have to say much about the shoes and skirt and silk blouse. They’ll see it automatically.

Select the most striking details and move on.

Use the Senses

One reason clothing descriptions can start to feel like a tedious laundry list (see what I did there?) is because we get stuck on what things look like. But there is so much more to the experience of clothing than that.

Tell us how the wool of your protagonist’s sheath dress scratches the skin on the underside of her arm. Mention the familiar swooshing of the neighbor’s tracksuit as he runs by the house every morning or how the aunt’s jacket always smells like cold air and pine needles.

Fabric, Fit, Quality, Color

If you’re good at talking clothes, you can sit this one out. But for writers like me who get stuck in the “white socks, green dress” rut, here’s a quick reminder:

Details about fabric, fit, quality, and color are super effective when it comes to creating a sense of character, place, or moment.

Baggy jeans. A scarlet pantsuit. A four-layer, bubble-gum pink taffeta skirt. The only cloak in the world made with silk spun by the cat-sized spiders that live in the forbidden mountains.

These images all go a lot further than “white socks, green dress,” and most of them don’t require a lot of extra words.

Make It Significant

Consider whether your character’s attire might serve as a symbol, highlight a theme, or represent a conflict .

Maybe they’re wearing an article of clothing that once belonged to someone they’ve lost. Or they’ll be living off soda crackers and peanut butter for the next week because they drained their checking account for a suit to impress at their job interview.

What would “high stakes clothing” look like in your story?

Let the Clothing Tell a Story

Really, the topic of this article is not how to describe clothing in writing as much as it is how to tell a story with clothes. Because like all other character details, it’s not enough to paint a picture. The image you create has to play a role in the narrative.Consider the character arc . Who is your character at the beginning of the story, and how can you dress them to establish their “normal”? How do they change, and how does their clothing reflect that change?

Be specific and accurate. In other words, research.

If you write historical fiction, you’re probably way ahead of me. You’re already obsessing over hat styles and what the undergarment situation was at the time of your story. Not to pile on, but don’t forget to make sure you know which materials were—and weren’t—available in the world of your novel.

And if you don’t write historical fiction? You’re still not off the hook. Make sure you know what’s hot and what’s not in your specific setting, as well as what specific words the locals would use. Are they overalls or coveralls? Sweaters or jumpers?

Get it right, and you transport your readers to a vivid world.

A screenshot of Dabble's Character Notes feature with a photograph of a man and a clothing description.

Dabble with Depth

If there is one thing I hope you take from all of this, it’s that none of this is about describing what a character looks like. Not really.

Sure, it helps your reader to know how you picture a character. It makes for a more entertaining read. But your reader is going to picture something whether you guide them or not. The reason we fuss over physical descriptions is not because it’s so important that the reader’s imagination gets it right.

It’s because concrete details are incredibly effective in communicating abstract concepts. In writing, the clothes kind of do make the (hu)man. Fashion photographer Bill Cunningham said, “Fashion is the armor to survive the reality of everyday life.” Try applying this philosophy to clothing descriptions in your writing and see what happens.

What does your character wear to feel safer in their world or in their own skin? How does their attire reflect what they want, what they fear, or where they’re going?

These are deep questions. And if you need a place to organize your complex responses, I recommend Dabble’s Character Notes feature. You can keep track of your character’s signature style, upload photos, note how their style evolves, and keep these ideas right at your fingertips as you write.

Not a Dabble user? No problem! You can try all Dabble’s premium features for free for fourteen days. Just click this link and don’t even think about touching your wallet. You don’t need it to sign up.

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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Descriptive Words For Children's Behaviour

Descriptive Words For Children's Behaviour

Written by Lorina
April 18, 2023

As Educators, there will be many instances where you will need to write about a child's behaviour. For a behaviour management plan, assessments, half-yearly or yearly reports and more. The following lists descriptive words and their meaning that can be used to describe a child's behaviour.

Task-Oriented Behavior

Active: always busy with something
Ambitious: strongly wants to succeed
Cautious: being very careful
Conscientious: taking time to do things right
Creative: someone who can make up things easily or think of new things
Curious: always wanting to know things
Logical: using clear and sound reasoning
Organized: dealing with one's affairs efficiently
Perfectionist: wants everything to be done right and perfectly
Precise: careful and with great attention to detail

Task-Oriented Behaviour With Negative Connotation Include:

Anxious: worried, uneasy, or nervous
Careless: not being careful; rushing into things
Impatient: quickly irritated and easily provoked
Lazy: unwilling to work or showing a lack of effort
Rigid: being unwilling to change one's outlook, belief, or response
Scatterbrained: inattentive and forgetful
Slapdash: performing work quickly and carelessly
Sober: serious, sensible, or solemn
Undisciplined: lacking in discipline
Volatile: changing moods very quickly

Positive Relationship-Oriented Behaviours May Be Described As:

Altruistic: shows selfless concern for others
Caring: desires to help people
Compassionate: feels or shows sympathy or concern for others
Considerate: thinks of others
Faithful: being loyal
Impartial: treats all persons equally; fair and just
Kind: thoughtful, caring
Pleasant: polite
Polite: exhibiting good manners
Sincere: being totally honest

Negative Relationship-Oriented Behaviours May Be Described As:

Aggressive: verbally or physically threatening
Argumentative: often arguing with people
Bossy: always telling people what to do
Deceitful: doing or saying anything to get people to do what you want or to get what you want
Domineering: constantly trying to control others
Flaky: unstable and unreliable
Inconsiderate: not caring about others or their feelings
Manipulative: always trying to influences other people
Rude: treating people badly; breaking social rules
Spiteful: seeking revenge; hurting others because you didn't get what you want

Words That Describe Introverted Behaviour include:

Guarded: cautious and reserved
Loner: preferring not to socialize with others
Maverick: unorthodox or independent
Reflective: engaged in deep thought
Reticent: not revealing one's thoughts easily
Retiring: shy and fond of being alone
Reserved: keeps thoughts and feelings to himself
Self-aware: possessing in-depth knowledge of one's thoughts and feelings
Sensitive: quick to detect or respond to slight changes, signals, or influences.
Shy: quiet and reserved; lacking in confidence

Words That Describe Extroverted Behaviour Include:

Affable: friendly, good-natured, and easy to talk to
Amiable: displays a friendly or pleasant manner
Assertive: confident and forceful
Authoritative: commanding and self-confident; someone who is likely to be respected or obeyed
Charismatic: shows a compelling charm that inspires devotion in others
Enthusiastic: showing intense excitement, interest, or approval
Gregarious: fond of company, sociable
Persuasive: able to convince others to do or believe something
Self-assured: confident in one's character
Talkative: fond of making conversation with others

When writing about a child's behaviour it is important that it is done so respectfully and positively. Examples should be given to provide an overall sense of the child's behaviour when describing it.

For information on how to talk to parents about their child's behaviour: Talking To Parents About Their Child's Behaviour Issues

For information on developing a behaviour management plan: Behaviour Management Plans In Childcare Reference: List of Words that Describe Behavior, Your Dictionary

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How to figure out feelings and express yourself through writing - advice for children from The Week Junior

Making words work for you

A girl sitting at desk and writing in a journal

Have you noticed how some stories and characters in the books you read can help you see things differently? This is the magical power of words. They can lead you to a whole new way of experiencing the world around you.

How does writing help?

Learning to talk about your thoughts and feelings is a big part of life. From writing messages to your friends to making plans together, to answering questions at school, and talking with your family, words are amazing tools for communicating all sorts of things.

Writing isn’t just an activity that you do at school. It’s something you can do by yourself for your benefit. Keeping a diary (or positivity journal ) is a great way to get creative and talk to yourself in the private pages. It’s a place you can be totally honest without worrying what anyone else thinks.

Research shows , this can help you to improve your confidence, reduce anxiety and boost your mood. Working things out on the page can also be a great way of solving problems , which has the added benefit of making you feel good.

Express yourself

Sarah Ratermann Beahan is a teacher who helps people express their emotions through writing. “When we have big emotions – sadness, anger, frustration, excitement – we can feel it in our bodies. Our hearts beat faster, we feel like we want to cry or stomp our feet. It’s hard to know what to do with ourselves in those moments,” she explains.

“Writing about our feelings, situations and experiences can help us manage those big emotions. Writing the story of our experience helps us figure out what we are feeling, a process often called 'naming'. When we name our experience, we can figure out what to do with it.”

Don’t worry about the rules

When you’re writing for yourself, the focus is more on what you think and feel, rather than getting things right or sounding clever. Sarah says: “It’s more important to let your story and feelings flow. This is a place where you don’t have to worry about the rules of writing! This writing is for you alone, and the process of putting it on paper is more important than how clear or correct it is.”

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Talking to your diary

Writing for just 10-20 minutes a couple of times a week is a great way to help you to understand your feelings. Try these ideas:

Write about your day – what happened, how did it make you feel, what emotions came up?
Describe something that you’re proud of – what did you accomplish and why was this important to you?
What is something you’d like to change – what would you do differently and why, what would you like to do next and what’s one step you can take towards that?

Rainbows and clouds

Rainbows can’t happen without clouds. In the same way, challenging experiences – which happen and pass by like clouds – can help you appreciate the good things in life. Write about a challenge you experienced today (your cloud). Write about the best thing that happened to you today (your rainbow). Is there anything positive that can come out of your cloud?

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This feature was originally published in June 2024 in The Week Junior, which is also owned by Future Publishing.

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Writing Creatively to Make Sense of the Times We Live In

Journalist katrin schumann talks about why she writes fiction..

Updated July 12, 2024 | Reviewed by Davia Sills

Studies show that the act of all kinds of writing hones our reflective abilities.
Creative writing stretches our imagination, increases emotional resilience, and alleviates stress.
Writers of nonfiction examine complex issues that are relevant to our times.
Novelists examine the issues using characters as a vehicle for empathy.

Studies show that the act of writing hones our reflective abilities, stretches our imagination , increases emotional resilience , and alleviates stress . In my conversation with journalist-turned-novelist Katrin Schumann, we discuss how creative writing, in particular, is a worthy pursuit to understand the issues of our time. Schumann is the author of the nonfiction books Mothers Need Time Outs Too and The Secret Life of Middle Children, as well as the novels The Forgotten Hours and This Terrible Beauty .

You’re a trained journalist and the author of nonfiction books. Why, in the last few years, have you focused on writing fiction?

Writing nonfiction has been a way for me to examine complex issues that are relevant to our times, including psychological ones, but I’ve found that in recent years, I’ve been drawn to fiction because it allows me to get closer to the subject. In exploring thorny issues like loyalty and trust or co-dependency , I’m able to do more of a deep dive in fiction. The form allows me to sit with the complexities, to live in the gray areas with my characters.

I can’t always do this with nonfiction, where I’m approaching the topic from a specific angle, seeking solutions. In fiction, I have space to explore nuances that fascinate and confuse me and try to make sense of the inevitable contradictions. It’s messier and more delicate than nonfiction. For me, this feels more true to the human experience.

All writing involves deep reflection. Do you find the act of writing fiction to be a different kind of therapy?

Yes. Spending years creating characters and situations that grapple with serious, real-world problems lets me explore my own difficult experiences. For instance, I’d been wrestling with the aftermath of dealing with a narcissist when I started writing my first novel. By fictionalizing those challenges, I was able to find the courage to linger in the dark areas, examining them from all angles in order to find where the light might get in.

I discovered greater empathy and resilience in myself while also being able to acknowledge the trauma I’d been through. It’s using my imagination, combined with researching some very real and current psychological challenges, that ultimately feels most powerful to me and an effective way to reach readers.

How does fictionalizing the story give you more latitude or depth in exploring topics? You write about things like self-reliance and depression, and I’m wondering why not just write articles about it.

I write to figure out my own issues and to learn, but also to share. For me, fiction writing makes me work harder and go deeper. I’m trying to change people’s minds and hearts in subtler ways. I’m reflecting on experiences I’ve had, wrestling with what they mean, and how we can all learn from them and come out the better for it.

Yet, I don’t want to be prescriptive; I want people to draw their own conclusions. I research deeply about whatever topic I’m tackling.

To write my last novel, I studied the history of neuropsychology, dissecting studies on substance abuse . I conducted interviews. For all my books, I gather and study facts and figures, but with novels, I take that a step further. I put those facts and figures into play with my imagined characters to explore what happens. I imbue the impersonal with empathy and allow readers to try to figure out how they feel about how the characters contend with the issue. This approach leads me to meaningful personal discoveries while also taking the reader along on the emotional journey.

How do you decide whether to approach a topic in a nonfiction book or in a novel?

The more I’m personally involved with the topic, the more I want to explore it in fictional form. Ironically, for fiction, I feel like I should have an even better understanding of some of these psychological challenges than if I were covering them through straight nonfiction reportage. I first have to understand the topic and its history so my story is not only realistic but feels authentic.

I want readers to trust me, which means I have to be thorough. It’s my aim to take them on a ride that’s compelling as well as informative. And I love learning something new when I’m immersed in researching and writing fiction.

If writing fiction is about wrestling with your own demons, why not simply journal?

Journaling is, without question, a beneficial reflective activity. Yet what differentiates this kind of work from journaling about our problems or writing blog posts is that novelists are committing more time and energy to the deep dive on a specific topic. My last novel took almost three years to write, and during that time, I was reading everything I could get my hands on about the topic in order to distill it so that readers might find it relevant to their own lives.

At that stage, it’s not really about me anymore; it’s about the human condition. And in the end, that’s what readers relate to, I think. It’s what makes them call their friends and say, “I just finished this great book. You’ve got to read it.”

More about Katrin Schumann 's work

Lynne Griffin, R.N., M.Ed. , researches family life and is a novelist.

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How to Describe a Baby in a Story
This adjective can be used to emphasize how sweet and pure your baby is, and it can contrast them in the future if they lose their innocence. 5. Petite Definition. Someone small, dainty, or delicate. Examples "The petite baby made a lot of noise for someone so small." "You were a petite baby, and we often worried about losing you!"
How to Describe Giving Birth In A Story? (100+ Examples)
These phrases can help evoke the depth and breadth of the birthing experience. "The air was charged with anticipation.". "Pain and purpose intertwined.". "A symphony of life in every breath.". "Tears of pain, tears of joy, indistinguishable.". "The world narrowed to a single, pivotal moment.".
How to Describe Giving Birth in a Story
Does a character have a baby in your novel? Are you writing the scene in which she gives birth? Check out the tips below on how to describe giving birth in a story. 1. Painful Definition. Agonizing, excruciating; causing physical or emotional suffering. Examples "The contractions were becoming more painful with each passing minute."
How to Describe a Baby Crying in Writing
"The plaintive wail of the baby filled the air, mirroring the gloomy atmosphere of the room." "As the baby's plaintive cries echoed through the hall, a sense of melancholy washed over her." How it Adds Description "Plaintive" imbues the baby's cry with a mournful or sorrowful tone, hinting at an underlying sadness.
How to Write a Birth Scene
Example 3: (No Example Added- but you can add one for your scene) Part Three. Pain and Giving birth. »A.Don't wuss out and step away from the real human stuff, because that's where your best moments come from in fiction. I. (For writers who've already had the baby born) Have a realistic perception on this moment. For example, if there's goo and red stuff all over a baby, the baby's ...
How To Write A Birth Scene: 27 Tips, Examples, & Guide
Tip 16: Consider the Pace. Pacing is crucial in a birth scene. A fast-paced, urgent delivery can convey intensity and drama, while a slower, more drawn-out labor can build suspense and allow for deeper character exploration. Use pacing to reflect the nature of the childbirth and the emotional journey of the characters.
When a baby is born
Likes Received: 342. Newborns generally come out a pinky, purply colour mainly due to running at lower oxygen levels whilst in the womb and due to the trauma of being squeezed through a small hole. The core may be pinker and the arms and legs might look purple/blue.
newborn baby
newborn baby. - quotes and descriptions to inspire creative writing. The newborn baby arrives, the greatest gift God can bestow, a sacred responsibility of love and nurture. By Angela Abraham, @daisydescriptionari, December 15, 2020 . Her newborn baby smile was as sweet as a summer strawberry and filled me with a sunshine I never knew existed ...
Write with Fey: Writing About: A New Baby
Writing About: A New Baby. A baby is always a miracle! If it is in the cards for one of your characters to get pregnant and have a baby, you can have a lot of fun with it! Pregnant women are interesting and entertaining in real life and should also be in literature. In your writing, don't forget to describe your pregnant character's looks ...
Creating an authentic child's voice in writing
The child's voice must encapsulate the unreliability of the child's perspective. There is a fine line when creating such a voice between authenticity and hamming it up, so-to-speak. Of course, there may be times when a writer may want to ham it up. I find hamming it up to be quite a large part of my style as a writer.
A Guide to Writing Child Characters Authentically
Writing Child Characters (5-8) Once a child outgrows the toddler phase, they will start displaying more critical thought and preferences. They might have a favorite show, a favorite genre of music, and a favorite pastime, and all of those reveals a little bit more about the person they are shaping up to be.
Write with Fey: Writing About: Childbirth
Writing About: Childbirth. If you ever need to write the birth of a baby and don't know where to begin, a good place to start is with the first contraction. What you don't want to do is say the woman was brought into the delivery room and then sometime later the family is ushered in to see the happy mother and newborn baby.
300+ Words to Describe Skin: A Word List for Writers
(Discover even more words in The Writer's Body Lexicon.). Picking the Perfect Adjective Saves Words … and makes writing leap off the page. These lists contain more than 300 adjectives to describe skin color, tone, complexion, and texture.Some might be deemed cliché, but you can leverage them as springboards.
400+ Words to Describe Hands: A Word List for Writers
Hands, like hair, absorb scent from their environment. See the Scent section of 400+ Words to Describe Hair for ideas. More Adjectives. Many of the following adjectives could describe hands, fingers, wrists, or nails. See also 300+ Words to Describe Skin. A to C
Find Inspiration in Motherhood with Creative Writing Prompts
You can see the first 30 days of creative writing prompts for journaling and story creation. Take what you need. Grab a notebook, a cup of coffee, ad 5 minutes for time to write and play. You find an envelope in your mailbox from your newborn baby. You finally get to lift the championship trophy high into the air.
8 Necessary Tips for How to Write Child Characters
4. Don't Have Your Child Characters Use Baby Talk. In writing child characters, the same rules apply to their dialogue as to the use of any kind of dialect: don't abuse it. Don't spell out their lisp. Don't make a habit of letting them misuse words. And, at all expenses, avoid "ah, gee, misters.". 4 Do's of How to Write Child ...
How do I describe a baby's cry?
Let's not go there. But decide what the motive is for having the cry there, then use words and descriptors that evoke the feeling you want to cause. (If you want a specific take, tell me what the goal is in comments, if you are able, and I'll get back to you. Otherwise modify your question and I'll check back ). Share.
176 Adjective to Describe a Baby
Adjectives are words that describe or modify another person or thing in the sentence. The article " adjectives to describe a baby" provides a list of positive adjectives that can be used to describe infants. The list includes physical traits, such as "cute," "adorable," and "joyful." It also includes adjectives that capture the baby's personality,… Read More »176 Adjective ...
Adjectives for Baby: Examples & Describing Words
Here are some adjectives to describe a playful baby: Energetic. Mischievous. Lively. Joyful. Read: Land Bridge Describing Words: Examples & Adjectives. For instance, you might say, "The baby giggled and played, delighting everyone in the room with their playful antics.". 3. When a baby is adorable:
Describe Crying in Writing—Without the Clichés
A cliché is a phrase, idea, or story element that has been overused to the point of being annoying. Some examples are: When a character screams "noooo!" up at the sky. When a character cries in the rain. The phrase "crying a river of tears.". When a character's heart "hammers" or "pounds.". The phrase "a blood-curdling ...
How to Describe Clothing in Writing Without Boring Everybody
Let the Clothing Tell a Story. Really, the topic of this article is not how to describe clothing in writing as much as it is how to tell a story with clothes. Because like all other character details, it's not enough to paint a picture. The image you create has to play a role in the narrative.Consider the character arc.
Descriptive Words For Children's Behaviour
Gregarious: fond of company, sociable. Persuasive: able to convince others to do or believe something. Self-assured: confident in one's character. Talkative: fond of making conversation with others. When writing about a child's behaviour it is important that it is done so respectfully and positively.
How to Raise a Child Who Loves Creative Writing: Games, Activities
Select one of the 25 unlabeled, sealed envelopes from the pile of blank envelopes and let your parent know which you draw. Each writing prompt is identified by the number inside each envelope. Some writing prompts will appeal to you more than others, of course.
How to figure out feelings and express yourself through writing
Writing isn't just an activity that you do at school. It's something you can do by yourself for your benefit. Keeping a diary (or positivity journal) is a great way to get creative and talk to yourself in the private pages. It's a place you can be totally honest without worrying what anyone else thinks.
Writing Creatively to Make Sense of the Times We Live In
Key points. Studies show that the act of all kinds of writing hones our reflective abilities. Creative writing stretches our imagination, increases emotional resilience, and alleviates stress.
Creativity starts in the cradle, new research shows
New research indicates that babies can begin grasping complex language and ideas. Infants less than a year old can combine simple concepts into complex ideas, showing that creativity begins in ...