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How to Write a Descriptive Essay | Example & Tips

Published on July 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

A descriptive essay gives a vivid, detailed description of something—generally a place or object, but possibly something more abstract like an emotion. This type of essay , like the narrative essay , is more creative than most academic writing .

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Table of contents

Descriptive essay topics, tips for writing descriptively, descriptive essay example, other interesting articles, frequently asked questions about descriptive essays.

When you are assigned a descriptive essay, you’ll normally be given a specific prompt or choice of prompts. They will often ask you to describe something from your own experience.

• Describe a place you love to spend time in.
• Describe an object that has sentimental value for you.

You might also be asked to describe something outside your own experience, in which case you’ll have to use your imagination.

• Describe the experience of a soldier in the trenches of World War I.
• Describe what it might be like to live on another planet.

Sometimes you’ll be asked to describe something more abstract, like an emotion.

If you’re not given a specific prompt, try to think of something you feel confident describing in detail. Think of objects and places you know well, that provoke specific feelings or sensations, and that you can describe in an interesting way.

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The key to writing an effective descriptive essay is to find ways of bringing your subject to life for the reader. You’re not limited to providing a literal description as you would be in more formal essay types.

Make use of figurative language, sensory details, and strong word choices to create a memorable description.

Use figurative language

Figurative language consists of devices like metaphor and simile that use words in non-literal ways to create a memorable effect. This is essential in a descriptive essay; it’s what gives your writing its creative edge and makes your description unique.

Take the following description of a park.

This tells us something about the place, but it’s a bit too literal and not likely to be memorable.

If we want to make the description more likely to stick in the reader’s mind, we can use some figurative language.

Here we have used a simile to compare the park to a face and the trees to facial hair. This is memorable because it’s not what the reader expects; it makes them look at the park from a different angle.

You don’t have to fill every sentence with figurative language, but using these devices in an original way at various points throughout your essay will keep the reader engaged and convey your unique perspective on your subject.

Use your senses

Another key aspect of descriptive writing is the use of sensory details. This means referring not only to what something looks like, but also to smell, sound, touch, and taste.

Obviously not all senses will apply to every subject, but it’s always a good idea to explore what’s interesting about your subject beyond just what it looks like.

Even when your subject is more abstract, you might find a way to incorporate the senses more metaphorically, as in this descriptive essay about fear.

Choose the right words

Writing descriptively involves choosing your words carefully. The use of effective adjectives is important, but so is your choice of adverbs , verbs , and even nouns.

It’s easy to end up using clichéd phrases—“cold as ice,” “free as a bird”—but try to reflect further and make more precise, original word choices. Clichés provide conventional ways of describing things, but they don’t tell the reader anything about your unique perspective on what you’re describing.

Try looking over your sentences to find places where a different word would convey your impression more precisely or vividly. Using a thesaurus can help you find alternative word choices.

• My cat runs across the garden quickly and jumps onto the fence to watch it from above.
• My cat crosses the garden nimbly and leaps onto the fence to survey it from above.

However, exercise care in your choices; don’t just look for the most impressive-looking synonym you can find for every word. Overuse of a thesaurus can result in ridiculous sentences like this one:

• My feline perambulates the allotment proficiently and capers atop the palisade to regard it from aloft.

An example of a short descriptive essay, written in response to the prompt “Describe a place you love to spend time in,” is shown below.

Hover over different parts of the text to see how a descriptive essay works.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

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The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

If you’re not given a specific prompt for your descriptive essay , think about places and objects you know well, that you can think of interesting ways to describe, or that have strong personal significance for you.

The best kind of object for a descriptive essay is one specific enough that you can describe its particular features in detail—don’t choose something too vague or general.

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How to Write a Descriptive Essay

Working on a descriptive essay is like handing your reader a pair of magical glasses – it allows them to see, feel, and experience what you're describing. It's not just about listing facts – it's about immersing your reader in a sensory adventure. Fun fact: Studies show that our brains respond to vivid imagery as if we're actually experiencing the described scene. So, by painting a detailed picture with your words, you're not just telling a story – you're triggering a sensory response in your reader's brain, making the whole experience more memorable and engaging. It's like turning your essay into a mini-vacation for your reader's mind. In this article, students who haven’t delegated their tasks to essay writers yet will find a detailed explanation of descriptive writing with the definition, tips, and examples. Stay tuned!

What Is a Descriptive Essay

A descriptive essay is a form of writing that employs vivid language and sensory details to create a vivid picture or experience for the reader. Unlike other types of essays that may focus on analyzing, persuading, or narrating, the primary goal of this type of an essay is to paint a compelling and detailed picture in the reader's mind. It often involves the writer using descriptive words, metaphors, and other literary devices to convey a sensory experience, allowing the reader to visualize, feel, hear, smell, and taste what is being described. The purpose is to evoke a strong emotional response and engage the reader's imagination, making them feel like they are part of the depicted scene or moment.

In a descriptive essay, the writer carefully selects and organizes details to convey a specific impression or mood. The subject matter can range from a personal experience to observing a place, event, or object. The effectiveness lies in the writer's ability to create a vivid and immersive experience, enabling the reader to connect with the described subject on a deeper level. Ultimately, a well-executed descriptive essay leaves a lasting impression by bringing words to life and making the reader experience the depicted elements in a tangible and memorable way. You can also consult a reflection paper example for additional writing hints.

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Description vs. Descriptive Essay

Description and descriptive essays are related concepts, but they differ in scope and form. Description is a broader term that refers to the act of detailing the characteristics or features of something, someone, or a specific situation. It can be a component of various types of writing, not limited to essays. Description can be found in narratives, expository writing, and even technical or scientific writing, where clarity and precision in detailing are crucial. In essence, description is a tool used in writing to enhance understanding and create a vivid mental image.

On the other hand, a descriptive essay is a specific genre of writing that focuses entirely on painting a comprehensive and detailed picture using descriptive language. It is a more concentrated form of expression, where the writer's primary objective is to engage the reader's senses and emotions. Our custom writers suggest that a descriptive essay typically centers around a particular theme, experience, or subject, and it employs vivid imagery, figurative language, and sensory details to create a captivating narrative. Unlike a simple description, a descriptive essay has a more structured and narrative-oriented format, often with an introduction, body paragraphs, and a conclusion.

What to Describe in Your Essay

In a descriptive essay, you have the opportunity to portray a particular subject vividly, and the key is to engage the reader's senses and imagination. Here are some ideas on what you can describe:

• Scenic Locations. Transport your reader to a specific place – a serene beach, a bustling city street, a lush forest, or an ancient castle. Describe the sights, sounds, smells, and feelings associated with that location.
• Memorable Experiences. Share a personal experience that left a lasting impression on you. It could be a significant event, a life-changing moment, or even a routine activity that holds special meaning.
• People. Describe a person who has had a profound impact on your life or someone you find intriguing. Focus not only on their physical appearance but also on their personality, quirks, and the emotions they evoke.
• Objects. Choose a specific object, whether it's a cherished possession, a historical artifact, or something mundane yet interesting. Explore its significance and how it makes you feel.
• Seasons and Weather. Capture the essence of a particular season or weather condition. Whether it's the warmth of a summer day, the crispness of autumn, or the sound of raindrops on a window – make the reader feel the atmosphere.
• Animals or Pets. Bring to life a beloved pet or an encounter with a fascinating animal. Describe their appearance, behavior, and the emotions they evoke in you.
• Cultural Events. Attend a cultural event, festival, or celebration, and describe the vibrant colors, sounds, and traditions. Explore how these events make you feel and their cultural significance.
• Art and Creativity. Choose a piece of art, a sculpture, or a creative work that captivates you. Dive into the details, uncovering the emotions it evokes and its impact on your perception.

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Two Approaches to Writing a Descriptive Essay

There are generally two primary approaches to writing a descriptive essay, each emphasizing a different aspect of the subject. These approaches help shape the overall tone and purpose of the essay:

Objective Approach. In the objective approach, the writer strives to provide a detailed and accurate portrayal of the subject without injecting personal emotions or opinions. This method is often employed in academic and technical writing. The focus is on presenting an unbiased, factual description that allows readers to form their own opinions. For example, if describing a historical monument, the writer would focus on architectural details, historical context, and other observable features without interjecting personal feelings.

Subjective Approach. Conversely, the subjective approach encourages the writer to infuse personal experiences, emotions, and opinions into the description. This approach is often used in creative writing, personal narratives, or essays that aim to evoke specific emotions in the reader. When using a subjective approach, the writer might vividly describe how the subject makes them feel, drawing on personal memories and sensory experiences. For instance, if describing a favorite childhood place, the writer might delve into nostalgic emotions and memories associated with that location.

The choice between these approaches depends on the writer's goals and the intended impact on the reader. Some essays may even blend elements of both approaches, providing factual details while also conveying the writer's emotional connection to the subject. The key is to be intentional in choosing the approach that best serves the purpose of the descriptive essay. Or, you can buy cheap essay to avoid the trouble now and save valuable free time.

Descriptive Essay Topics

Choosing topics for descriptive essay can greatly benefit students by helping them improve their writing skills and unleash their creativity. These assignments allow students to dive deep into a subject and practice using colorful language, vivid descriptions, and creative imagery. By focusing on details, students learn to observe the world around them more closely and appreciate the nuances of their surroundings. 

Exploring various topics also allows students to expand their knowledge and understanding of different cultures, experiences, and environments, fostering empathy and a broader perspective. In essence, descriptive essay topics provide students with a valuable opportunity to develop their writing abilities while gaining a deeper appreciation for the power of language and observation.

• A day at the beach.
• My favorite childhood memory.
• The cozy corner of my room.
• A rainy day in the park.
• The bustling farmer's market.
• An unforgettable family gathering.
• The charming old bookstore.
• My pet's quirky habits.
• The perfect pizza slice.
• Sunrise over the city.
• A peaceful forest glade.
• The hectic school cafeteria.
• A quiet Sunday morning.
• Exploring a hidden trail.
• The enchanting winter wonderland.
• The lively street fair.
• Inside Grandma's kitchen.
• A colorful autumn day.
• My favorite room in the house.
• The first day of school.
• A historic landmark in my town.
• Sunset on the lakeshore.
• The adorable neighborhood coffee shop.
• A vibrant street art mural.
• My most comfortable outfit.
• The quaint village square.
• A walk through the botanical garden.
• The excitement of a carnival.
• A quirky antique shop.
• Sunday afternoon picnic.

If you need more ideas, consult our guide on narrative essay topics .

Descriptive Essay Outline

An outline for a descriptive essay serves as a roadmap for organizing and structuring the content of your essay to ensure a coherent and engaging narrative. Here's a simple breakdown of the typical components of a descriptive essay outline:

Descriptive Essay Introduction

• Hook. Begin with a captivating opening sentence to grab the reader's attention.
• Thesis Statement. Clearly state the main idea or purpose of your essay.

Body Paragraphs (usually three to four)

• Topic Sentence. Start each paragraph with a clear topic sentence that introduces the main point.
• Details and Descriptions. Elaborate on the topic sentence by providing vivid and specific details, using sensory language to engage the reader's senses.
• Transitions. Use smooth transitions between paragraphs to maintain the flow of the essay.
• Restate Thesis. Recap the main idea of the essay without introducing new information.
• Summarize Key Points. Briefly revisit the main details discussed in the body paragraphs.
• Closing Statement. End with a concluding thought that leaves a lasting impression or provokes further reflection.

Review and Revise

• Check for Consistency. Ensure that your descriptions are consistent and align with the overall theme.
• Grammar and Style. Review your essay for grammatical errors and refine your writing style.
• Peer Review. If possible, seek feedback from others to gain different perspectives on your essay.

Remember, this is a flexible descriptive essay writing framework, and the number of body paragraphs can vary based on the specific requirements of your assignment. The key to how to write a descriptive essay is to maintain a logical and organized structure that guides the reader through a rich and immersive experience of the subject you're describing.

Stages of Writing a Descriptive Essay

Writing a descriptive essay involves several stages, each crucial to the development of a vivid and engaging narrative. Here's an overview of the key stages:

• Choose a Topic. Select a subject that is meaningful, interesting, and conducive to detailed description.
• Brainstorming. Generate ideas related to the chosen topic, jotting down sensory details, emotions, and specific experiences associated with it.
• Thesis Statement. Develop a clear thesis statement that conveys the main purpose or impression you want to leave with your readers.
• Introduction. Craft an engaging introduction that hooks the reader and includes the thesis statement.
• Body Paragraphs. Develop each paragraph around a specific aspect of your topic, providing detailed descriptions and utilizing sensory language.
• Organization. Arrange your paragraphs logically, using a chronological, spatial, or thematic structure to guide the reader through the experience.
• Transition Sentences. Use transitional sentences to ensure a smooth flow between paragraphs and ideas.
• Content Review. Evaluate the effectiveness of your descriptions, ensuring they contribute to the overall theme and purpose of the essay.
• Clarity and Coherence. Check for clarity and coherence in your writing, ensuring that readers can follow your narrative easily.
• Sensory Language. Enhance the use of sensory language, making sure that your descriptions evoke vivid images and engage the reader's senses.
• Thesis Refinement. Fine-tune your thesis statement to reflect any adjustments made during the drafting process.

Editing and Proofreading

• Grammar and Punctuation. Review your essay for grammatical errors, punctuation issues, and proper sentence structure.
• Consistency. Check for consistency in tense, point of view, and overall writing style.
• Word Choice. Ensure that your vocabulary is precise and contributes to the richness of your descriptions.
• Final Check. Conduct a final proofread to catch any remaining errors, typos, or formatting issues.
• Peer Review. If possible, seek feedback from peers or instructors to gain additional perspectives on your essay.
• Structure. Ensure your essay has a clear structure with an introduction, body paragraphs, and a conclusion.
• Font and Font Size. Adhere to any specific formatting guidelines provided by your instructor, including font type and size.
• Margins and Spacing. Check and adjust margins and line spacing according to the formatting requirements.
• Title and Headings. If required, include a title and headings, making sure they are appropriately formatted.
• Citations. If using sources, ensure proper descriptive essay format according to the citation style (APA, MLA, etc.).

By following these stages, you can systematically develop and refine your essay, creating a compelling and immersive experience for your readers.

Descriptive Essay Examples

A descriptive essay example is like a practical guide for students, showing them how to write in a way that really grabs people's attention. They help students see how to use colorful language and organize their thoughts. By looking at the examples, students can understand how to make their writing more engaging and bring their ideas to life. They also inspire students to get creative and find their own unique style. Examples are like a roadmap, navigating students who google ‘ do my homework ’ through the writing world and making them more confident and expressive communicators.

Example 1: "A Tranquil Morning at Sunrise Cove"

This descriptive essay paints a vivid picture of the enchanting Sunrise Cove, capturing the serene and captivating atmosphere that unfolds during the early morning hours. From the magical transformation of the landscape bathed in the warm hues of dawn to the melodic symphony of nature's sounds, the cove emerges as a tranquil haven untouched by the hustle and bustle of modern life. Beyond its picturesque beauty, Sunrise Cove provides a space for introspection and reflection, inviting visitors to immerse themselves in the peaceful ambiance and find solace in the quietude of the moment. Ultimately, the essay celebrates the profound beauty and respite offered by this hidden sanctuary as the sun continues its journey across the sky, leaving the cove awash in warmth and tranquility.

Example 2: "The Enchanting Serenity of Moonlit Beaches"

This descriptive essay explores the enchanting beauty of moonlit beaches. It vividly depicts the scene of a beach illuminated by the soft glow of the moon, emphasizing the visual, auditory, and emotional elements that contribute to its allure. The essay is structured into three main paragraphs: the silvered canvas, the symphony of silence, and a tapestry of emotions. Each paragraph delves into a specific aspect of the moonlit beach experience, from the shimmering reflections on the sand and water to the peaceful silence that reigns during the night and, finally, the emotional resonance that the scene evokes. The overall theme highlights the transformative and serene nature of moonlit beaches, portraying them as a timeless sanctuary for introspection and contemplation.

Learning how to compose descriptive essays is a powerful tool that empowers students to express themselves vividly, sharpen their observational abilities, and communicate with precision. The ability to create a sensory-rich experience on paper not only enhances academic performance but also cultivates a lifelong skill set essential for effective communication in various aspects of life.

They encourage students to delve into their surroundings, tap into their creativity, and paint a detailed picture with words. The process of carefully selecting and arranging descriptive details not only refines their writing abilities but also hones their critical thinking skills. As students engage in this form of expression, they learn to appreciate the nuances of language, fostering a deeper connection to the written word. Need help with this assignment? Use our descriptive essay writing service right now!

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Module 4: Writing in College

Descriptive essays, learning objectives.

• Describe techniques for writing effective descriptive essays or effective passages with description

Description

Figure 1 . C.S. Lewis, author of the fictitious book series, “The Chronicles of Narnia” is an expert at using descriptive writing.

Description is a rhetorical mode you’ll want in your toolbox because it places your reader in the scene you’re describing. You’ll likely relate this tool to fiction, because the best novels use description to capture our imagination. But description can be important in a personal narrative, a compare and contrast essay, and even a research paper.

Take a look at the detailed imagery in this example from Between the World and Me , by Ta-Nehisi Coates.

It was always right in front of me. The fear was there in the extravagant boys of my neighborhood, in their large rings and medallions, their big puffy coats and full-length fur-collared leathers, which was their armor against their world. . . . I think back on those boys now and all I see is fear, and all I see is them girding themselves against the ghosts of the bad old days when the Mississippi mob gathered ’round their grandfathers so that the branches of the black body might be torched, then cut away. (14)

Coates does so much work in this description of the young men in his neighborhood. Their coats and rings are not literally armor, but the descriptive language allows us to see these things as their armor against a fear driven by a history of lynching. In just a few carefully chosen descriptive words and images, Coates makes an emotional appeal for a different way of seeing these “extravagant boys.” He takes us both to the streets of Baltimore where these boys walk and to the “bad old days” of Mississippi where African-Americans could be lynched with impunity. Clearly, Coates’s use of language transports his reader with compelling, sensory language.

The following passage, for example, could be used in a petition to give the Jemaa el-Fnaa, a marketplace in Marrakesh, protected UNESCO status:

During the day it is predominantly occupied by orange juice stalls, water sellers with traditional leather water-bags and brass cups, youths with chained Barbary apes and snake charmers, despite the protected status of these species under Moroccan law. As the day progresses, the entertainment on offer changes: the snake charmers depart, and late in the day the square becomes more crowded, with Chleuh dancing-boys (it would be against custom for girls to provide such entertainment), story-tellers (telling their tales in Berber or Arabic, to an audience of locals), magicians, and peddlers of traditional medicines.As darkness falls, the square fills with dozens of food-stalls as the number of people on the square peaks. The square is edged along one side by the Marrakesh souk, a traditional North African market catering both for the common daily needs of the locals, and for the tourist trade. On other sides are hotels and gardens and cafe terraces, and narrow streets lead into the alleys of the medina quarter. Once a bus station, the place was closed to vehicle traffic in the early 2000s. The authorities are well aware of its importance to the tourist trade, and a strong but discreet police presence ensures the safety of visitors.

Vivid description can help your audience make an emotional connection to your subject, which is where the true power of the written word lies.

Like many rhetorical strategies for writing essays, description rarely stands alone. So you will be called upon to use your descriptive writing skills in many different kinds of essays.

You can’t compare two items unless you describe them. You can’t illustrate abstract concepts or make them vivid and detailed without concrete description.

We have five senses: touch, taste, smell, sight, and sound. So, what does it look like, feel like, smell like, or taste like to be hot?

• “The sweat mixed with its salt stung my eyes, and it dripped from my forehead and slid down my brow.”

In concrete “show, not tell” description, leaves are not “soft” but “velvet”; sirens are not “loud” as much as they “start my Labrador to howling and vibrate the glass panes in my front door.”

Show, Don’t Tell

Russian short story author and physician Anton Chekhov succinctly demonstrates how to show rather than tell in the following quote:

Don’t tell me the moon is shining; show me the glint of light on the broken glass.

The following illustrates a progressive improvement in description:

• My friend is big.
• My friend Jamie weighs 320 pounds and is 5’10”.
• Since he would never let me risk danger on my own, Jamie scrunched his 5’10’’ frame and all 320 pounds through the narrow cave entrance and into the black tunnel behind me.

Descriptions when using abstract words or concepts are even more important when using concrete objects. For example, your instructor crooks her arm and cups her right hand, stating, “Pretend I am holding a grapefruit. Describe it.” You and your classmates shout out words: “yellow,” “juicy,” “softball-sized,” “pink and pulpy,” and so on. She then cups the left hand and says, “Pretend I am holding love. Describe it.” What would you say? And how do you qualify love and make it distinct? Yes, love is “patient” and “kind,” “sexy” and “luscious,” but these are still abstract words that can have differing meanings to different people. Does love “warm me like a cup of hot chocolate by a fire”? Does it “get up first on a cold morning to make coffee”?

Description is about creating pictures; words are your paint.

Sample Descriptive Essay

Here you’ll see a traditional or typical sample descriptive essay from a beginning writing class. In this assignment, the student was asked to write an essay describing an important day, such as a first date, and to follow MLA guidelines in the essay.

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A Guide to Descriptive Writing

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

What is descriptive writing?

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

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

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

What is Descriptive Writing?

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

The term descriptive writing can mean a few different things:

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

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

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

How Much Description is Too Much?

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

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

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

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

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

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

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

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

Descriptive Writing Tips

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

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

Here are some general tips for descriptive writing:

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

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

10 descriptive writing practices.

How to Practice Writing Description

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

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

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

Descriptive Writing

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

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

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

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

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

Thank you for this. R.G. Ramsey

You’re welcome!

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

You’re welcome, Bella.

Hello Melissa

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

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

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

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

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

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

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

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

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

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

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How to Write a Descriptive Essay

This could be something as simple as your favorite flavor of ice cream or as complicated as the politics of 13th century Vienna. Different than a simple description, a descriptive essay allows the writer to really show off both their imagination as well as their writing skills.

What is a Descriptive Essay?

A descriptive essay is a type of academic writing that asks the writer to fully describe a place, person, situation, event, or thing. They can be simple or they can be very complex depending on the subject matter and audience written for. These types of essays train a writer’s ability to express themselves accurately as well as build compelling sentences and arguments.

Descriptive Essay Ideas

There is no exhaustive list of things that can be described, but these are some of the most common things you may be asked to write about. 

A Location - The goal of writing about a place is to make the reader feel as if they are there. Words, similes, and metaphors that ignite the reader’s imagination are essential. Try and immerse the reader in the sights, smells, and sounds of the place you are describing. Examples could be a city, a view, a particular building like your house, etc. 

A Time Period - Similar to writing about a location, the goal is to make the reader lose themselves in the time you are describing. This requires great research to be able to describe physical characteristics as authentically and as well as possible. This could include how you felt a year ago, an ancient time period, or the future.

An Event - The goal of describing an event is to explain a series of interesting circumstances. Typical storytelling elements like describing the plot, setting, and characters are useful, but make sure you focus on the chain of events.

An Emotion - The goal of describing an emotion is to make the reader feel the sentiments of the character you are describing. Metaphors and similes are very useful when trying to evoke an emotion in a reader along with physical descriptions that express the emotion. 

A Person - The goal of writing about a person is to make the reader understand something about that person. This includes physical descriptions of what they look like, what kind of clothing they wear, a sense of the physical presence along with their profession,  as well as how they behave. 

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Descriptive Essay Outline and Structure

Though a descriptive type of essay is quite different from a typical academic paper, it still follows a classic 5 paragraph format. Always follow any directions though, sometimes you may need more or fewer body paragraphs. This is a general structure you should keep in mind for this type of essay.

Introduction

• Introduction/background information

Body Paragraphs

• Topic Sentence
• Sensory Information
• Physical Descriptions
• Transition Sentence
• Summary of the main points
• Restate the thesis

An outline is always a good idea for any kind of writing, but it is particularly useful for this type of essay because it collects your thoughts and makes sure your essay stays on track. 

Introduction 

• Hook - The sting of salty water, the hypnotic crash of the waves, the breathtaking sunsets, the best vacation spot?
• Background information - Everyone is different and everyone likes different types of things. When it comes to vacations though, there is a place that almost everyone enjoys.
• Thesis - In my opinion, the beach is the best possible vacation spot because of the variety of ways one can enjoy it. 

Body Paragraph 1 

• Topic Sentence - The beach has many kinds of natural beauty
• Sensory information - The unlimited expanse of the ocean combined with glorious sunrises and sunsets.
• Physical descriptions -The crunch of sand below your bare feet and the crash of waves on your body.
• Transition sentence - There’s more than just natural beauty though, there are physical activities to enjoy as well 

Body Paragraph 2

• Topic Sentence - The beach has unlimited activities for physical enjoyment.
• Sensory information - The thrill of battling with the ocean, the joy of falling on the sand, the wind streaming through your hair, and the pleasant tingling of the sun on bare skin.
• Physical descriptions - Water sports like surfing, jet skiing, and the like allow you to exercise in one of the most fun ways possible. Not to mention sports like frisbee, volleyball, beach soccer, and more.
• Transition sentence - If you just want to relax, the beach is perfect for that too!

Body Paragraph 3

• Topic Sentence - The beach is ideal just to relax, destress, and take it easy. 
• Sensory information - To relax as you are massaged by either human hands or the sun is a pleasure. Lazing around might be frowned upon, but the beach is the ideal place to spend some time taking care of yourself and letting the stresses of the world melt away.
• Physical description - Whether it’s reading a book, or enjoying a refreshing beverage with umbrellas in it, you can get taken care of on the beach. Building sandcastles, painting, and meditating are other activities easily and freely enjoyed. 
• Transition sentence - The beach has so much to offer.
• Summary of the main points - Whether it’s nature, physical exercise, or simple relaxation, the beach can offer all of that and more. 
• Restate the thesis - That’s the main reason that a beach is the ideal vacation spot, it allows for diverse ways of having fun. 
• Closing statement/Clincher - Think about the last time you went to the beach, don’t you want to go again?

What is the Purpose of a Descriptive Essay?

It should leave the reader with a clear idea of the topic of the essay. The goal is to explain things in a comprehensive and interesting way so that the information stays with the reader. Let’s go into the details of how to accomplish this. 

Did you like our inspiring Descriptive Essay Guide?

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Writing Process & Descriptive Essay Examples

It may seem challenging to write a successful essay of this type, but if you follow the advice below, it will be a breeze. 

How to Start a Descriptive Essay

Making sure you choose the right topic is the first hurdle to cross. A topic for a descriptive essay is vital because it is the main subject you will be writing about. Spend at least 20 minutes brainstorming different topic ideas and make sure you choose a topic that you know well.

Next, create an outline to better structure your thoughts and figure out the pieces of information you need to find out more about. The more time you spend creating a well-researched outline, the better your endpaper is going to be, and you’ll end up spending less time on actually writing the paper. Now you can move on the writing the descriptive essay introduction.

How to Write a Descriptive Essay Thesis

A thesis statement is the main argument you are trying to make in your paper. It is the main point you are trying to describe. A good thesis statement for descriptive essay is particular without being too brief. It should include not only just what the topic is, but also mention why the topic is important.

How to Write Body Paragraphs

You can have as many body paragraphs as you think are necessary to achieve the goal of describing something clearly. This means you could have just one body paragraph, the standard three, or more. 

Start every paragraph with a topic sentence that explains what the main purpose of the paragraph is. Next fill in sensory details, describing the emotions before moving on to describing the actual physical details. End each body paragraph with a transition sentence that helps each paragraph flow into the other. Not only does this make your writing stronger, but it also helps you create an immersive experience.

How to Write the Conclusion 

Summarize the main points of your essay and make sure that you reiterate the thesis statement. This reminds people of the point of your essay and ensures that when writing, you don’t stray too far from the point. 

Descriptive Essay Format 

There are 3 main formats of citation types for essays. Though the most common one is MLA, it is possible that you may have to use APA or Chicago Style citations. 

MLA stands for Modern Language Association and is used primarily for the arts and humanities.  MLA uses in-text parenthetical citation in the format of (Author, Page). The page at the end that contains all the sources is called the Works Cited page. The format of these entries is unique to MLA but is easy to make with a citation generator. 

APA stands for American Psychological Association and is used mostly for the sciences and social sciences. APA uses in-text parenthetical citations in the format (Author, Date). The page at the end that contains all the sources is called the References section

Chicago Style is used primarily for Business, History, and the Fine Arts. In-text citation can be either as footnotes or parenthetical citation in the format (Author, Date). The page at the end that contains all the sources is called the Bibliography. 

Most descriptive essays will follow the MLA style of citation, but if you need any more help, find a guide on Studyfy.com for more information about citation styles in general. 

Descriptive Essay Topics

The topic is crucial, because all the research you do, and the entire paper, will specifically be about describing the topic. Here are some descriptive essay prompts to inspire you!

The person you’ve most admired in your life

A movie scene that made you feel strong emotions

The time period you would travel to if you had a time machine

Why a beach is better than the mountains for a vacation (or vice versa)

The taste of a drink when you are incredibly tired

An author that inspired you 

Your favorite cuisine

The best place in the world to be by yourself

The best Christmas morning you’ve ever had

An accent that you really enjoy 

A time when you wanted something so much it burned

Describe the day in the life of your favorite celebrity 

The joy of escaping into a video game

What dancing means to you 

A life philosophy you believe in 

The feeling of holding a baby in our arms

The sound of crashing waves

Standing in front of a gorgeous view

A vacation that was meaningful 

Why fireworks are magical 

The first time you cosplayed 

How it feels to listen to music that you hate 

The best thing you have ever eaten in your life

What would it be like to live 100 years in the future

Why hearing people laugh is beautiful 

A day in the life of your favorite animal 

A strange superstition you believe in

The strangest person you’ve ever met

Your favorite tv show 

Playing your favorite sport 

What it’s like to be in love

Descriptive Essay Tips

Before we end, let’s go over some of the key points of information in this article.

• Use figurative language including metaphors and similes 
• Use your senses
• Choose appropriate words
• Show don't tell 
• Focus on specific details
• Spend time choosing the right topic
• Create a detailed outline
• Forget about the purpose of the essay
• Submit your first draft
• Make it too complicated
• Ignore your audience 
• Ignore any directions

In addition to the information provided in this article, there are various resources available to help with your writing needs. If you are struggling to write your descriptive essay, you can turn to professional writers and editors for assistance. You may consider hiring a research paper writing service or seeking help from dissertation writers .

Additionally, if you need someone to " write my admission essay ", there are various options available. You can hire a writer for a custom writing service or seek help from online tutors and teachers. Furthermore, if you need to write a strong admission essay, there are services available that specialize in providing guidance and assistance with this type of writing.

It is important to note that before submitting any work, it should be proofread and edited thoroughly to ensure its quality. Studyfy offers a range of services to help with this, including professional proofreaders and editors who can check your work for grammatical errors and ensure that it meets academic standards.

In summary, there are various resources available to help with your writing needs, including professional writing services, proofreaders, and editors. By utilizing these resources and following the guidelines outlined in this article, you can write a successful descriptive essay that effectively conveys your ideas and engages your readers.If you are looking for the query " I need someone to write an essay for me ", Studyfy has got you covered

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Descriptive Essay

Descriptive Essay Writing

Last updated on: Feb 9, 2023

How To Write An Impactful Descriptive Essay?

By: Cathy A.

12 min read

Reviewed By: Melisa C.

Published on: Dec 17, 2019

Wondering how to write an impressive descriptive essay? Writing a descriptive essay is both fun and challenging. You need to describe the main topic in detail and by engaging the five senses of the readers.

Students usually get this type of essay in high school and college. Writing a descriptive essay is different from other essays.

You need to focus on describing a certain person, place, or event.

Luckily for you, the following blog post will provide some helpful tips on how to create an engaging essay.

Continue reading to learn how to write an A-worthy descriptive essay.

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What is a Descriptive Essay?

A descriptive essay is a detailed paper that describes a place, person, situation, object, or emotion. Different people have different points of view and your job is to explain yours in detail.

You may be asked to write a descriptive essay about the beach or forest or about a person or situation. The purpose of this essay is to test the writer’s ability in expressing and explaining their experiences.

Descriptive writing should create a picture in the reader’s mind. You may be required to write a descriptive essay as a high school or college essay assignment.

For a compelling essay, using adjectives and adverbs, details, and figurative language is fundamental. Without proper usage of words, you will not be able to invoke the readers' emotions.

What is the Purpose of a Descriptive Essay?

The purpose of a descriptive essay is to describe a person, place, or personal experience in vivid detail so that the reader can create a picture in his mind.

The descriptive essay is written to get the reader to understand by using descriptive language. It is different from narrative essays, where the writer tells the story about someone else. Usually, it starts with a real-life event and then the content follows the author's imagination.

Descriptive essays are not intended to persuade the reader or show facts and figures to prove something. Descriptive essays are like word paintings that contain personal and descriptive details and these are mostly assigned to students of creative writing.

How to Start a Descriptive Essay

A strong start for your descriptive essay is essential. Analyze your topic from every angle and document the following details:

Analyze the main subjects in detail and observe minute things.

• Start with observing all the possible aspects of the subject.
• Don't just observe the object but also its surroundings.
• Focus on details and features of the subject and develop opinions about them.
• Be thoughtful; this first step will be the basis for the essay.

Physical Settings

Describing the physical settings is a must in a descriptive essay. When describing, keep the following points in mind.

• Focus on the subject's position and observe nearby objects
• Note the time of day and kind of lighting: natural or imitated
• Physical settings: all the basic and decorative elements
• The position and shape of the objects
• Alignment and any other observable information

Physical Features

When describing the physical features of the subject, living or nonliving, consider the following points.

• Living or nonliving; describe the features in detail
• The subject's skin color, texture, smoothness, expression, and age
• The features of inanimate objects in the picture, color, surface, and texture

Create Drama

Storytelling and drama are the life and blood of a good descriptive essay. It turns your essay into an exciting and interesting piece of writing. However, be subtle about adding drama to your sentence structure and add it to complement your story only.

Focus On Your Feelings

Focus on how you feel about the particular topic or person and stick to it. It is easy to get involved when working on the essay. But, focus on your own feelings and write an essay based on them.

Use Of Specific Vocabulary

Vocabulary is important. Select the best words for describing an action or object. Don't always use the first word that comes to mind.

Write slowly and thoughtfully, and use specific words to convey your thoughts.

Psychological Aspects

Writing about a certain situation or behavior of a person focuses on the mental aspects and emotions involved in them.

For Example, describe your emotions when your friend misplaced your notes right before the exam.

You may have had several emotions in that incident. Maybe you were prepared for exams, but this situation put you under pressure and made you feel frustrated and hurt.

Explore those emotions and describe the feelings they aroused. Describe the body language also, if relevant.

Ask Yourself, WHY?

This is the most valuable tip for students. When you are looking at a particular subject, and having difficulty analyzing its aspects, ask yourself "WHY".

• Why is the subject the way it is?
• Why does the person you are describing have such a deep-set and cold eyes?
• Why is the animal so wounded and terrified?
• Why is this particular place famous?

It is a good practice and after some time you will do it naturally. Knowing the why is important if you want to describe your topic properly.

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How To Write A Descriptive Essay?

When you write a descriptive essay, you help your readers visualize an event, a person, or a story. It is written to make your readers feel what you feel about the respective subject.

A descriptive essay seeks to appeal to some or all of the audience’s five senses. Some key things to consider are:

• Discussing your subject thoroughly
• Focusing on details and adding them in your essay
• Sharing your personal feelings and experience about the subject
• Observing and describing all sensory details of your subject

Here are the steps to write a descriptive essay easily.

1- Choose an Engaging and Focused Essay Topic

An important step that all strong descriptive essays share is having a focused topic. Before you make the outline, identify the purpose of your essay and use it to create an appropriate thesis statement.This type of paper does not require much personal opinion from you. Its main goal should be focusing on information that will make a dominant impression in readers' minds instead.

2- Research and Gather Important Details

When writing a descriptive essay, it is important to make sure you include as many details and sensory information as possible. This helps your reader fully understand the images that are being presented in their mind's eye.You can organize these ideas into categories so they're easy for you to access when needed.

3- Create an Outline of Your Essay

Your essays must be organized by having subheadings that are clear and concise. Group your main points into individual body paragraphs, each of which should only cover one idea or topic at a time.

4- Write your Essay’s Introduction

A good introductory paragraph is much like a road map because it provides direction to your readers.

It provides relevant background information before diving into more specific details related to how something works or why something happens. These could include statistics or stories from real-life scenarios.

5- Write the Main Body Section of Your Essay

Each body paragraph should start with a topic sentence that keeps the reader hooked on what you are saying. Use specific details instead of making generalized statements, and make sure to give examples if necessary.

6- End with a Strong Conclusion

The conclusion of an essay is the final paragraph, and it should summarize all that you have said throughout. It's a good idea to restate the main points and key details from the essay in this section.

It is important so the reader has everything they need for better understanding before ending off on something new.

If necessary be sure not to introduce anything odd or unusual, to avoid any confusion.

7- Proofread and Revise the Essay Carefully

Once you are done writing the essay, proofread and revise it carefully. Make sure that it is free from all kinds of errors.

Descriptive Essay Outline

Like all the other essays, a descriptive essay also follows the usual 5-paragraph essay structure and format.Before starting, it is important to create an outline. Following are the fundamental elements of your descriptive essay outline:

Descriptive Essay Introduction

The introduction sets the footing for the entire essay. Before heading towards the body section, the reader will come across the introduction.

It is the first impression of your work. It is very important to write an engaging introduction so that the readers read the essay till the end.

Start the essay in an easy-to-understand way and language. Provide background information on your topic so they can understand it and its importance.

To make sure the reader feels your emotions and decides to continue reading further, incorporate the following points in your introduction.

The following tips will guide you on how to write a good introduction for a descriptive essay.

• Attract the reader's attention with an interesting fact, phrase, or quote
• Don't bombard them with information
• Go straight to the main pointsInclude enough information to introduce the topic and its significance.
• Summarize the argument and the main topic and craft your thesis statement

Descriptive Essay Thesis Statement

A thesis statement is an integral part of your essay. It focuses on the argument and the writer’s main idea, which is to be discussed in the essay.

This statement also provides the writer with a chance of explaining the purpose and scope of the topic. It is intriguing and engaging.

A thesis statement is written at the end of the introduction, it is mainly a single sentence that describes the essay objective. The thesis statement should act as a guide to the reader on what to expect in the essay body. It is like a table of contents of a book, to the reader on contents you will get an idea of what the book is all about so you get to understand it better.

It is like a table of contents of a book. By reading it, you will get an idea of what the book is all about.

A good thesis should contain the following things:

• Define the essay scope - it should narrow down all the points to clarify its purpose.
• Avoid using common words - you should be creative with your choice of words.
• Create suspense - it should attract the reader to the body paragraphs of the essay.

For further information on how to write a thesis for a descriptive essay, check out the following examples.

• Descriptive essay example about a Place

“Even though monarchy is long gone, Buckingham Palace is here to remind us of the aesthetic beauty of that era.”

• Descriptive essay example about a Person

“One of the characteristics of Spider-Man is his youthfulness, and the fact that he talks to himself more than Hamlet.”

• Descriptive essay example about an Emotion

“For numerous reasons, the dark forest is my greatest fear, though not a fear which is necessarily smart to face.”

Descriptive Essay Body Paragraphs

Body paragraphs of the essay come next after the introduction and thesis statement. It is the main part that continues your essay.

Usually, an essay consists of three body paragraphs but you can add more if needed.

Don't add more than one central idea in one paragraph. Fusing different ideas will confuse the reader.

Build your paragraphs according to the thesis and introduction.

• Start each body paragraph with the main sentence
• Use transitions to move between paragraphs smoothly
• Each paragraph should be five to six sentences long

Descriptive Essay Conclusion

The concluding paragraph is the last part of an essay, and probably your last chance to impress your reader.

The last part that the reader can keep in mind is the conclusion, which is as important as the rest of the essay.

To make it interesting and thought-provoking, include the following points:

• Restate the thesis statement
• Summarize the main points
• Add an intriguing closing statement

After writing the conclusion, make a review of your essay, identify the mistakes and maintain a good tone throughout the essay.

Descriptive Essay Format Sample

Here is the descriptive essay format to help you understand how you can write a winning descriptive essay.

DESCRIPTIVE ESSAY FORMAT (PDF)

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Descriptive Essay Topics Ideas

Descriptive essay topics are often related to physical settings, locations, living beings, and objects.

Make sure that your essay includes the five senses, touch, taste, smell, sight, hearing, or at least one of them. It depends on the topic and the kind of feeling that you want to arouse.

Below are some descriptive essay ideas and ways to achieve them.

Living Beings

When you want to write about a person like a family member, consider the following elements:

• Gender, age, complexion, and expressions
• Physical features
• Height, body type, and approximate weight
• Kind of clothes

These details will add depth to the description and your readers will actually see your narrative.

When animals are the subject, you can add the above points plus the following details:

• Species and animal
• Size, weight, color
• Behavior patterns
• Temperament
• Trained or wild?
• Real or fictional?

Inanimate Subjects

Geographic locations and structures.

When your subject is a place or a building, add the following points:

• Research about the place and its historical background
• The color and the building's type
• A famous place or landmark to draw a comparison and inspire interest

Human behavior and psychology is a compelling descriptive essay subject. When writing about it:

• Describe the consequences of a particular behavior
• Discuss the emotional dimension of the topic and how you perceive it personally

Event Or Travel Experience

A travel experience makes a good descriptive essay since you have experienced the event first hand.

Give a detailed description of the place, people at the venue, and the atmosphere of the location.

Idea, Concept, or Occupation

When writing on such topics, focus on how an idea or concept affects society and its different aspects.

Example Descriptive Essay Topics for Students

Choosing a topic for your descriptive essay is quite interesting. You get to choose something that you have an emotional connection with.

When writing a descriptive essay about a person or place, adding their personal traits will be helpful.

Some examples of descriptive essay topics include:

• Compose a detailed descriptive essay about your best friend.
• Describe a fancy place that you have created.
• Describe your dream vacation destination.
• Describe your favorite mall or store.
• Describe your childhood home.
• Descriptive essay about nature.
• Descriptive essay about a place you visited.
• Describe the personality of your Maths teacher.
• Discuss the main characters of your favorite movie.
• Descriptive essay about chocolate.
• Write an essay using unique Words to describe yourself.
• What makes me unique?
• My first love.

Descriptive Essay Examples

Study these descriptive essay examples and sample papers to understand the main idea, structure, and purpose of descriptive essays.

DESCRIPTIVE ESSAY ON MARKET (PDF)

DESCRIPTIVE ESSAY EXAMPLE PERSON (PDF)

To help you understand how to write a great descriptive essay, we have a whole blog post dedicated to it. We know that talking about something is one thing and demonstrating it is completely different.

Having a descriptive essay assignment with a short deadline? Looking for someone to do my essay for me ?

5StarEssays.com academic writing professionals are ready to help you. They read the essay details before writing and make sure that they incorporate all the details in it.

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Frequently Asked Questions

What are the features of a descriptive essay.

A descriptive essay provides a perfect opportunity for writers to express their feelings on any subject. Descriptive writing has rich sensory details which appeal to all of your senses.

How do you start a descriptive essay introduction?

The introduction to the descriptive essay should set the scene and introduce the main topic. You can use these sensory details to get a sense of what the essay is all about.

What are the two types of descriptive essays?

There are two types of descriptive essays. The first type deals with people, and the second one is about objects.

What are the elements of a descriptive essay?

Here are the key elements of a descriptive essay.

• Sensory details
• Figurative language
• Central and main theme
• Precise and clear language
• Proper organization of ideas

What makes good descriptive writing?

Good and effective descriptive writing consists of vivid sensory details that appeal to all senses including the sense of sight, smell, touch, hearing, and taste. Moreover, these essays also explain people’s feelings in writing.

Finance Essay, Literature

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What is a Descriptive Essay? How to Write It (with Examples)

A descriptive essay is a type of creative writing that uses specific language to depict a person, object, experience, or event. The idea is to use illustrative language to show readers what the writer wants to convey – it could be as simple as a peaceful view from the top of a hill or as horrific as living in a war zone. By using descriptive language, authors can evoke a mental image in the readers’ minds, engaging readers and leaving a lasting impression, instead of just providing a play-by-play narrative.

Note that a description and descriptive essay are not the same thing. A descriptive essay typically consists of five or more well-written paragraphs with vivid imagery that can help readers visualize the content, as opposed to a description, which is typically one or more plain paragraphs with no particular structure or appeal. If you are still unsure about how to write a compelling descriptive essay, continue reading!

Table of Contents

What is a descriptive essay, types of descriptive essay topics.

• Characteristics of descriptive essays

How to write a descriptive essay using a structured outline

Frequently asked questions.

A simple descriptive essay definition is that it is a piece of writing that gives a thorough and vivid description of an object, person, experience, or situation. It is sometimes focused more on the emotional aspect of the topic rather than the specifics. The author’s intention when writing a descriptive essay is to help readers visualize the subject at hand. Generally, students are asked to write a descriptive essay to test their ability to recreate a rich experience with artistic flair. Here are a few key points to consider when you begin writing these.

• Look for a fascinating subject

You might be assigned a topic for your descriptive essay, but if not, you must think of a subject that interests you and about which you know enough facts. It might be about an emotion, place, event, or situation that you might have experienced.

• Acquire specific details about the topic

The next task is to collect relevant information about the topic of your choice. You should focus on including details that make the descriptive essay stand out and have a long-lasting impression on the readers. To put it simply, your aim is to make the reader feel as though they were a part of the experience in the first place, rather than merely describing the subject.

• Be playful with your writing

To make the descriptive essay memorable, use figurative writing and imagery to lay emphasis on the specific aspect of the topic. The goal is to make sure that the reader experiences the content visually, so it must be captivating and colorful. Generally speaking, “don’t tell, show”! This can be accomplished by choosing phrases that evoke strong emotions and engage a variety of senses. Making use of metaphors and similes will enable you to compare different things. We will learn about them in the upcoming sections.

• Capture all the different senses

Unlike other academic articles, descriptive essay writing uses sensory elements in addition to the main idea. In this type of essay writing, the topic is described by using sensory details such as smell, taste, feel, and touch. Example “ Mahira feels most at home when the lavender scent fills her senses as she lays on her bed after a long, tiring day at work . As the candle melts , so do her worries” . It is crucial to provide sensory details to make the character more nuanced and build intrigue to keep the reader hooked. Metaphors can also be employed to explain abstract concepts; for instance, “ A small act of kindness creates ripples that transcend oceans .” Here the writer used a metaphor to convey the emotion that even the smallest act of kindness can have a larger impact.

• Maintain harmony between flavor and flow

The descriptive essay format is one that can be customized according to the topic. However, like other types of essays, it must have an introduction, body paragraphs, and a conclusion. The number of body paragraphs can vary depending on the topic and available information.

It is crucial to remember that a descriptive essay should have a specific topic and goal, such as sharing personal experiences or expressing emotions like the satisfaction of a good meal. This is accomplished by employing exact language, imagery, and figurative language to illustrate concrete features. These language devices allow the writer to craft a descriptive essay that effectively transmits a particular mood, feeling, or incident to readers while also conjuring up strong mental imagery. A descriptive essay may be creative, or it may be based on the author’s own experiences. Below is a description of a few descriptive essay examples that fit into these categories.

• Personal descriptive essay example

A personal essay can look like a descriptive account of your favorite activity, a place in your neighborhood, or an object that you value. Example: “ As I step out of the front door, the crisp morning air greets me with a gentle embrace; the big chestnut tree in front, sways in the wind as if saying hello to me. The world unfolds in a symphony of awakening colors, promising a day filled with untold possibilities that make me feel alive and grateful to be born again”.

• Imaginative descriptive essay example

You may occasionally be required to write descriptive essays based on your imagination or on subjects unrelated to your own experiences. The prompts for these kinds of creative essays could be to describe the experience of someone going through heartbreak or to write about a day in the life of a barista. Imaginative descriptive essays also allow you to describe different emotions. Example, the feelings a parent experiences on holding their child for the first time.

Characteristics of descriptive essay s

The aim of a descriptive essay is to provide a detailed and vivid description of a person, place, object, event, or experience. The main goal is to create a sensory experience for the reader. Through a descriptive essay, the reader may be able to experience foods, locations, activities, or feelings that they might not otherwise be able to. Additionally, it gives the writer a way to relate to the readers by sharing a personal story. The following is a list of the essential elements of a descriptive essay:

• Sensory details
• Clear, succinct language
• Organized structure
• Thesis statement
• Appeal to emotion

How to write a descriptive essay, with examples

Writing an engaging descriptive essay is all about bringing the subject matter to life for the reader so they can experience it with their senses—smells, tastes, and textures. The upside of writing a descriptive essay is you don’t have to stick to the confinements of formal essay writing, rather you are free to use a figurative language, with sensory details, and clever word choices that can breathe life to your descriptive essay. Let’s take a closer look at how you can use these components to develop a descriptive essay that will stand out, using examples.

• Figurative language

Have you ever heard the expression “shooting for the stars”? It refers to pushing someone to strive higher or establish lofty goals, but it does not actually mean shooting for the stars. This is an example of using figurative language for conveying strong motivational emotions. In a descriptive essay, figurative language is employed to grab attention and emphasize points by creatively drawing comparisons and exaggerations. But why should descriptive essays use metaphorical language? One it adds to the topic’s interest and humor; two, it facilitates the reader’s increased connection to the subject.

These are the five most often used figurative language techniques: personification, metaphor, simile, hyperbole, and allusion.

• Simile: A simile is a figure of speech that is used to compare two things while emphasizing and enhancing the description using terms such as “like or as.”

Example: Life is like riding a bicycle. To keep your balance, you must keep moving – Albert Einstein

• Metaphor: A metaphor are also used to draw similarities, but without using direct or literal comparisons like done in similes.   

Example: Books are the mirrors of the soul – Virginia Woolf, Between the acts

• Personification: This is the process of giving nonhuman or abstract objects human traits. Any human quality, including an emotional component, a physical attribute, or an action, can be personified.

Example: Science knows no country, because knowledge belongs to humanity, and is the torch which illuminates the world – Louis Pasteur

• Hyperbole: This is an extreme form of exaggeration, frequently impractical, and usually employed to emphasize a point or idea. It gives the character more nuance and complexity.

Example: The force will be with you, always – Star Wars

• Allusion: This is when you reference a person, work, or event without specifically mentioning them; this leaves room for the reader’s creativity.  

Example: In the text below, Robert Frost uses the biblical Garden of Eden as an example to highlight the idea that nothing, not even paradise, endures forever.

Then leaf subsides to leaf.

So Eden sank to grief,

So dawn goes down to day.

Nothing gold can stay

– Nothing Gold Can Stay by Robert Frost (1923)

Descriptive essays need a combination of figurative language and strong sensory details to make the essay more memorable. This is when authors describe the subject matter employing senses like smell, sound, touch, and taste so that the reader can relate to it better.

Example of a sensory-based descriptive essay: The earthy fragrance of freshly roasted chestnuts and the sight of bright pink, red, orange fallen leaves on the street reminded her that winter was around the corner.

• Word choice

Word choice is everything in a descriptive essay. For the description to be enchanting, it is essential to utilize the right adjectives and to carefully consider the verbs, nouns, and adverbs. Use unusual terms and phrases that offer a new viewpoint on your topic matter instead of overusing clichés like “fast as the wind” or “lost track of time,” which can make your descriptive essay seem uninteresting and unoriginal.

See the following examples:

Bad word choice: I was so happy because the sunset was really cool.

Good word choice: I experienced immense joy as the sunset captivated me with its remarkable colors and breathtaking beauty.

• Descriptive essay format and outline

Descriptive essay writing does not have to be disorganized, it is advisable to use a structured format to organize your thoughts and ensure coherent flow in your writing. Here is a list of components that should be a part of your descriptive essay outline:

• Introduction
• Opening/hook sentence
• Topic sentence
• Body paragraphs
• Concrete details
• Clincher statement

Introduction:

• Hook: An opening statement that captures attention while introducing the subject.
• Background: Includes a brief overview of the topic the descriptive essay is based on.
• Thesis statement: Clearly states the main point or purpose of the descriptive essay.

Body paragraphs: Each paragraph should have

• Topic sentence: Introduce the first aspect or feature you will describe. It informs the reader about what is coming next.
• Sensory details: Use emphatic language to appeal to the reader’s senses (sight, sound, touch, taste, and smell).
• Concrete details: These are actual details needed to understand the context of the descriptive essay.
• Supporting details: Include relevant information or examples to improve the description.

Conclusion:

• Summarize key points: Here you revisit the main features or aspects of the subject.
• Restate thesis statement: Reinforce the central impression or emotion.
• Clincher statement: Conclude with a statement that summarizes the entire essay and serve as the last words with a powerful message.

Revision and editing:

• Go over your essay to make sure it is coherent, clear, and consistent.
• Check for logical paragraph transitions by proofreading the content.
• Examine text to ensure correct grammar, punctuation, and style.
• Use the thesaurus or AI paraphrasing tools to find the right words.

A descriptive essay often consists of three body paragraphs or more, an introduction that concludes with a thesis statement, and a conclusion that summarizes the subject and leaves a lasting impression on readers.

A descriptive essay’s primary goal is to captivate the reader by writing a thorough and vivid explanation of the subject matter, while appealing to their various senses. A list of additional goals is as follows: – Spark feeling and imagination – Create a vivid experience – Paint a mental picture – Pique curiosity – Convey a mood or atmosphere – Highlight specific details

Although they both fall within the creative writing category, narrative essays and descriptive essays have different storytelling focuses. While the main goal of a narrative essay is to tell a story based on a real-life experience or a made-up event, the main goal of a descriptive essay is to vividly describe a person, location, event, or emotion.

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Descriptive Essay

Definition of descriptive essay.

A descriptive essay , as the name implies, is a form of essay that describes something. In this genre , students are assigned the task of describing objects, things, places, experiences, persons, and situations. The students use sensory information to enable readers to use their five senses of touch, taste, smell, hearing, and sight to understand the topic of the essay.

Qualities of a Descriptive Essay

• Clear and Concise
• Use of Images
• Use of Five Senses

As far as clear and concise language is concerned, it is necessary to describe things precisely. Imagery is used to make things seem real and remarkable. The use of the five senses creates the imagery, or a mental picture, for each reader.

Difference Between a Description and a Descriptive Essay

A description could be just a paragraph, or it could be longer, as needed to fully describe the thing. However, a descriptive essay has five paragraphs. It is written in a coherent way with a good thesis statement at the end of the introduction , three body paragraphs , and a conclusion .

Examples of Descriptive Essays in Literature

Example #1:  the corner store (by eudora welty).

“Our Little Store rose right up from the sidewalk; standing in a street of family houses, it alone hadn’t any yard in front, any tree or flower bed. It was a plain frame building covered over with brick. Above the door, a little railed porch ran across on an upstairs level and four windows with shades were looking out. But I didn’t catch on to those. Running in out of the sun, you met what seemed total obscurity inside. There were almost tangible smells — licorice recently sucked in a child’s cheek, dill pickle brine1 that had leaked through a paper sack in a fresh trail across the wooden floor, ammonia-loaded ice that had been hoisted from wet croker sacks and slammed into the icebox with its sweet butter at the door, and perhaps the smell of still untrapped mice.”

This description of the “Little Store” is not only clear and concise, but also has images and sensory information about the store building.

Example #2: And the Orchestra Played On (by Joanne Lipman)

“The hinges creaked when I opened the decrepit case. I was greeted by a cascade of loose horsehair — my bow a victim of mites, the repairman later explained. It was pure agony to twist my fingers into position. But to my astonishment and that of my teenage children — who had never heard me play — I could still manage a sound. “It turned out, a few days later, that there were 100 people just like me. When I showed up at a local school for rehearsal, there they were: five decades worth of former students. There were doctors and accountants, engineers and college professors. There were people who hadn’t played in decades, sitting alongside professionals like Mr. K.’s daughter Melanie, now a violinist with the Chicago Symphony Orchestra. There were generations of music teachers.”

In the first paragraph of this descriptive excerpt, the author clearly describes the decrepit nature of the violin case, as well as the damage time has done to the bow. The second paragraph is a description of the characters , and their similarities.  Both use sensory information for effective descriptions.

Example #3: Yarn (by Koyoko Mori)

“The yellow mittens I made in seventh-grade home economics proved that I dreamed in color. For the unit on knitting, we were 1 supposed to turn in a pair of mittens. The two hands had to be precisely the same size so that when we held them together, palm to palm, no extra stitches would stick out from the thumb, the tip of the fingers, or the cuff. Somewhere between making the fourth and the fifth mitten to fulfill this requirement, I dreamed that the ball of yellow yarn in my bag had turned green. Chartreuse, leaf, Granny Smith, lime, neon, acid green. The brightness was electric. I woke up knowing that I was, once again, doomed for a D in home ec.”

See the use of colors in this paragraph by Koyoko Mori. This is called “pure description,” in that the description appeals to the senses. The use of word “brightness” in the last line is striking one.

Example #4: The Taj Mahal (by Salman Rushdie)

“And this, finally, is why the Taj Mahal must be seen: to remind us that the world is real, that the sound is truer than the echo, the original more forceful than its image in a mirror. The beauty of beautiful things is still able, in these image-saturated times, to transcend imitations. And the Taj Mahal is, beyond the power of words to say it, a lovely thing, perhaps the loveliest of things.”

Check this short description of the Taj Mahal by Salman Rushdie. This description presents a different picture of the Taj Mahal.

Function of Descriptive Essay

A descriptive essay presents a person, place, or thing, in a way that readers feel as if it is in front of their eyes, or that they are tasting it, or that they can hear it, or that they can smell it. Writers use sensory information to describe object . The object of the writer is to present a picture of something as honestly as he can.

Related posts:

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• Narrative Essay
• Definition Essay
• Types of Essay
• Analytical Essay
• Argumentative Essay
• Cause and Effect Essay
• Critical Essay
• Expository Essay
• Persuasive Essay
• Process Essay
• Explicatory Essay
• An Essay on Man: Epistle I
• Comparison and Contrast Essay

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Description

Writing for Success

Learning Objectives

• Determine the purpose and structure of the description essay.
• Understand how to write a description essay.

  THE PURPOSE OF DESCRIPTION IN WRITING

Writers use description in writing to make sure that their audience is fully immersed in the words on the page. This requires a concerted effort by the writer to describe his or her world through the use of sensory details.

As mentioned earlier in this chapter, sensory details are descriptions that appeal to our sense of sight, sound, smell, taste, and touch. Your descriptions should try to focus on the five senses because we all rely on these senses to experience the world. The use of sensory details, then, provides you the greatest possibility of relating to your audience and thus engaging them in your writing, making descriptive writing important not only during your education but also during everyday situations.

Avoid empty descriptors if possible. Empty descriptors are adjectives that can mean different things to different people. Good, beautiful, terrific, and nice are examples. The use of such words in descriptions can lead to misreads and confusion. A good day, for instance, can mean far different things depending on one’s age, personality, or tastes.

WRITING AT WORK

Whether you are presenting a new product or service to a client, training new employees, or brainstorming ideas with colleagues, the use of clear, evocative detail is crucial. Make an effort to use details that express your thoughts in a way that will register with others. Sharp, concise details are always impressive.

On a separate sheet of paper, describe the following five items in a short paragraph. Use at least three of the five senses for each description.

THE STRUCTURE OF A DESCRIPTION ESSAY

Description essays typically describe a person, a place, or an object using sensory details. The structure of a descriptive essay is more flexible than in some of the other rhetorical modes. The introduction of a description essay should set up the tone and point of the essay. The thesis should convey the writer’s overall impression of the person, place, or object described in the body paragraphs.

The organization of the essay may best follow spatial order, an arrangement of ideas according to physical characteristics or appearance. Depending on what the writer describes, the organization could move from top to bottom, left to right, near to far, warm to cold, frightening to inviting, and so on.

For example, if the subject were a client’s kitchen in the midst of renovation, you might start at one side of the room and move slowly across to the other end, describing appliances, cabinetry, and so on. Or you might choose to start with older remnants of the kitchen and progress to the new installations. Maybe start with the floor and move up toward the ceiling.

On a separate sheet of paper, choose an organizing strategy and then execute it in a short paragraph for three of the following six items:

• Train station
• Your office
• A coffee shop
• Lobby of a movie theater
• Choose an object to describe but do not indicate it. Describe it, but preserve the mystery.

  WRITING A DESCRIPTION ESSAY

Choosing a subject is the first step in writing a description essay. Once you have chosen the person, place, or object you want to describe, your challenge is to write an effective thesis statement to guide your essay.

The remainder of your essay describes your subject in a way that best expresses your thesis. Remember, you should have a strong sense of how you will organize your essay. Choose a strategy and stick to it.

Every part of your essay should use vivid sensory details. The more you can appeal to your readers’ senses, the more they will be engaged in your essay. 

On a separate sheet of paper, choose one of the topics that you started in Exercise 2, and expand it into a five-paragraph essay. Expanding on ideas in greater detail can be difficult. Sometimes it is helpful to look closely at each of the sentences in a summary paragraph. Those sentences can often serve as topic sentences to larger paragraphs.

Mystery Option: Here is an opportunity to collaborate. Please share with a classmate and compare your thoughts on the mystery descriptions. Did your classmate correctly guess your mystery topic? If not, how could you provide more detail to describe it and lead them to the correct conclusion?

Key Takeaways

• Description essays should describe something vividly to the reader using strong sensory details.
• Sensory details appeal to the five human senses: sight, sound, smell, taste, and touch.
• A description essay should start with the writer’s main impression of a person, a place, or an object.
• Use spatial order to organize your descriptive writing.

Description Copyright © 2016 by Writing for Success is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Table of Contents

Why Your Book Description Matters

How To Write Your Book Description

Book Description Examples

More book description best practices, how to write a book description that sells [with examples].

After the title and the book cover, your description is the most important book marketing material.

The book description goes most prominently on the back cover , and the top of your Amazon page (below the price and above the book reviews ). It’s crucial it be compelling, because readers make buying decisions from the book description.

In this guide, I’ll walk you through how to write a book description, provide you a template, and include good and bad book description examples.

Download the Scribe Book Description template below, and let’s get started:

Download Book Description Template

Here’s what we’ll cover:

The book description is the pitch to the reader about why they should buy your book. When done right, it directly drives book sales.

There are so many examples of how book descriptions lead to huge changes in sales. One of my favorite stories is for JT McCormick’s book, I Got There.

Despite having a nice cover and receiving good reviews, it wasn’t selling as many copies as it should have. So we dove into the book description, figured out the flaws, and completely revamped it.

Sales doubled – within an hour .

This isn’t uncommon. Often the description is the factor that solidifies in the reader’s mind whether the book is for them or not.

If you get it right, the sale is almost automatic.

If you get it wrong, very little else can really save you.

Remember, people are looking for a reason to not buy your book, so having a good back cover description is key to keeping them on the purchasing track.

How to Write A Book Description

At Scribe, our copywriters use the “Hook, Pain, Pleasure, Legitimacy, Open Loop” format, which is very similar to how we write introductions .

(Note that these instructions are optimized for non-fiction books. Fiction book descriptions follow different rules.)

1. Write A Compelling Hook

Just like a great cover design captures your eye immediately, every good book description you see is interesting from the first line.

People are always looking for a reason to move on to the next thing. Don’t give it to them. Make the first sentence something that grabs them and forces them to read the rest.

Generally speaking, this means focusing on the boldest claim in the book, or the most sensational fact, or the most compelling idea.

2. Describe The Current Pain They Are In

Once you have their attention, then describe the current pain they are in. If you can describe the pain of the reader you can engage them in entertaining the idea of buying the book.

You don’t need to be gratuitous here, all you need to do is be accurate: what pain is in their life? What unsolved problems do they have? Or, what unachieved aspirations grand goals do they have? Clearly and directly articulate these, in plain and simple language.

3. Describe How Your Book Will Solve Their Pain

Then tell them what the book does to help them solve for this pain. Done right, this creates an emotional connection by describing how the book will make the potential reader feel after reading it.

Or even better, what the reader will get out of reading the book—how will their life transform because of this book?

Will it make them happy or rich? Will it help them lose weight or have more friends? What do they get once they read this book?

Be clear about the benefits, don’t insinuate them. You are selling a result to the reader, not a process (even though your book is the process). Explain exactly what the book is about, in clear, obvious terms.

4. Legitimize Yourself To The Reader

This is about letting the reader know why they should listen to you. Why you’re the guide they want to lead them through this journey.

This can be very short, like a book blurb. You want just enough social proof to make them keep reading.

This can also go in the hook. If there’s an impressive fact to mention (e.g. “the New York Times Bestselling Author”), that should be bolded in the first sentence.

Or if there is one salient and amazing thing about you or the book, that can go in the book description.

Something like, “From the author of [INSERT WELL KNOWN BESTSELLING BOOK.]” Or, “From the world’s most highly decorated Marine sniper, this is the definitive book on shooting.”

5. Create An Open Loop

You state the problem or question your book addresses, you show that you solve or answer it, but you also leave a small key piece out.

Like a cliffhanger. This holds the reader’s attention and leaves them wanting more. You do want to be very explicit about what they will learn, but you don’t have to go deep into the “how.” This is to create an “open loop” so to speak; you are keeping back the secret sauce that is actually in the book.

This being said, do not make the reader struggle to understand what your point is, or how to get the reader there. This is especially true for prescriptive books (how-to, self-help, motivational, etc.). People like to understand the basics of the “how” (as well as the “what”), especially if it’s something new or novel. This is a balance that our examples will show you how to hit.

Examples of Good Book Descriptions

Cameron herold’s vivid vision.

Many corporations have slick, flashy mission statements that ultimately do little to motivate employees and less to impress customers, investors, and partners.

But there is a way to share your excitement for the future of your company in a clear, compelling, and powerful way and entrepreneur and business growth expert Cameron Herold can show you how.

Vivid Vision is a revolutionary tool that will help owners, CEOs, and senior managers create inspirational, detailed, and actionable three-year mission statements for their companies. In this easy-to-follow guide, Herold walks organization leaders through the simple steps to creating their own Vivid Vision, from brainstorming to sharing the ideas to using the document to drive progress in the years to come.

By focusing on mapping out how you see your company looking and feeling in every category of business, without getting bogged down by data and numbers, Vivid Vision creates a holistic road map to success that will get all of your teammates passionate about the big picture.

Your company is your dream, one that you want to share with your staff, clients, and stakeholders. Vivid Vision is the tool you need to make that dream a reality.

What Makes It Good?

Three things make this a great book description:

• Engaging hook: Everyone knows that mission statements are BS, but how many people say this out loud? By doing this it takes a stand and engages the potential reader immediately.
• Important keywords: We tend to advocate staying away from buzzwords, but in some cases—especially business books—the right use can work. This works. Words and phrases like “easy to follow” and “simple steps” and “drive progress” do well here.
• Clear pain and benefit: This book is not appealing to everyone, but to the perfect reader, it’s very appealing. It clearly articulates a real problem (“slick, flashy mission statements that ultimately do little”) and then tells you the result it delivers (“detailed, actionable three-year mission statements for their companies”) and how it gets you there (“mapping out how you see your company looking and feeling in every category of business”).

Tim Ferriss’s 4 Hour Work Week:

Forget the old concept of retirement and the rest of the deferred-life plan—there is no need to wait and every reason not to, especially in unpredictable economic times.

Whether your dream is escaping the rat race, experiencing high-end world travel, earning a monthly five-figure income with zero management, or just living more and working less, The 4-Hour Workweek is the blueprint.

This step-by-step guide to luxury lifestyle design teaches:

• How Tim went from $40,000 per year and 80 hours per week to $40,000 per month and 4 hours per week
• How to outsource your life to overseas virtual assistants for $5 per hour and do whatever you want
• How blue-chip escape artists travel the world without quitting their jobs
• How to eliminate 50% of your work in 48 hours using the principles of a forgotten Italian economist
• How to trade a long-haul career for short work bursts and frequent “mini-retirements

There are three things that make this good.

• It has a great hook: Tim immediately tells you why this book matters to YOU—because you can stop waiting for retirement. Who doesn’t want to retire now? OK, I’m interested, tell me more…
• It has a bulleted list with specific pain and pleasure: A vague promise is no good if it doesn’t deliver. Tim makes specific promises about the information in the book, both about things that have happened, and things it will teach you.
• It makes you want to read more: After the contrast of the big broad goal and the specific information, at the very least, any reader is going to keep going into the reviews and other information. You’re hooked—you want to know HOW he teaches this.

Philip McKernan’s One Last Talk:

If you were about to leave this planet, what would you say, and who would you say it to?

This shocking and provocative question is at the core of the remarkable and inspiring book, One Last Talk: Why Your Truth Matters And How To Deliver It. This book emerged from the speaking series designed to help people discover their truth, and then speak it out loud, developed by renowned coach Philip McKernan.

In this book, McKernan goes beyond the event, and dives into what it means to discover your truth and speak it, why people should do this, and then deeply explains exactly how this can be done. If you feel living more authentically could allow you to have a greater impact on others, or you can’t find the words to speak your truth as boldly as you know you need to, this is the book for you.

Make no mistake, the path McKernan lays out is simple, but not easy, because your greatest gift lies next to your deepest wounds.

This is one of the best book descriptions I’ve read. It grabs you from the first sentence, and forces you to read the rest, which is short and to the point.

Since it is his first book it gives the credentials of McKernan, then explains what the book is about, where it came from, states the huge question it addresses, and it does so in a way that creates an emotional reaction. Who doesn’t want to speak their truth?

Examples of Bad Book Descriptions

Ben horowitz’s, the hard thing about hard things.

Ben Horowitz, co-founder of Andreessen Horowitz and one of Silicon Valley’s most respected and experienced entrepreneurs, offers essential advice on building and running a startup—practical wisdom for managing the toughest problems business school doesn’t cover, based on his popular blog.

While many people talk about how great it is to start a business, very few are honest about how difficult it is to run one. Ben Horowitz analyzes the problems that confront leaders every day, sharing the insights he’s gained developing, managing, selling, buying, investing in, and supervising technology companies. A lifelong rap fanatic, he amplifies business lessons with lyrics from his favorite songs, telling it straight about everything from firing friends to poaching competitors, cultivating and sustaining a CEO mentality to knowing the right time to cash in.

Filled with his trademark humor and straight talk, The Hard Thing About Hard Things is invaluable for veteran entrepreneurs as well as those aspiring to their own new ventures, drawing from Horowitz’s personal and often humbling experiences.

What’s Wrong With It:

This description is bad because—based on this description—the book seems somewhat bland and boring.

If I don’t know anything about Horowitz before I read that description, what in there makes me want to know more? Nor does it really tell me anything about the substance of what he says in the book, and it substantially undersells both Horowitz’s prominence and the resonance and importance of the book’s message. And who cares that he likes rap? What does that matter to me, the reader?

As a side note: this book is very good. The book description just reads like a bad self-publishing novel (and they re-did it since then).

Douglas Rushkoff’s Coercion: Why We Listen to What “They” Say

Noted media pundit and author of Playing the Future Douglas Rushkoff gives a devastating critique of the influence techniques behind our culture of rampant consumerism. With a skilled analysis of how experts in the fields of marketing, advertising, retail atmospherics, and hand-selling attempt to take away our ability to make rational decisions, Rushkoff delivers a bracing account of media ecology today, consumerism in America, and why we buy what we buy, helping us recognize when we’re being treated like consumers instead of human beings.

Short descriptions are great, but this is too short to even tell me what the book says. This is an example of overselling, without doing it right.

Look at the descriptions, “devastating” “skilled analysis” and “bracing account”—this description sounds like he’s doing what he says he’s warning us about: selling without substance. In no place does this description connects the reader to the issues in the book in a way that is engaging or compelling.

1. Mindset Shift: It’s an Ad, Not a Summary

Don’t think of the book description as a synopsis. So many authors want to put everything about their book in this section. Resist that urge (you can do that with book blurbs , which are a different thing).

It’s an advertisement . An elevator pitch. Think of it like a verbal book trailer for your book. It’s designed to make people want to read your book. You want them to feel a call to action to buy it.

2. Use Compelling Keywords

It’s not enough to be accurate, you need to use high traffic keywords that increase the likelihood your book will get picked up in search.

For example, if Sports Illustrated does a book you’d want to not only say Sports Illustrated Magazine but also mention the names of the A-list athletes in the book.

Even better, use words that evoke an emotional on the part of the reader. Don’t use “jerk” when “asshole” will work. Amazon especially rewards compelling keywords .

3. Keep It Short

On average, Amazon Bestsellers have descriptions that are about 200 words long. Most descriptions are broken up into two or three paragraphs.

The easier to read, the better. You want it to look approachable one the book page, especially for the top Amazon book description.

4. Simple Writing

Keep the writing simple. Use short, clear sentences. You don’t want anyone to struggle to comprehend what you’re trying to convey because you’ve strung too many ideas together in one long run-on sentence.

5. Write as the Publisher, Not the Author

This will probably be obvious to you, but the book description should always be in a third person objective voice, and never your author voice. It is always written as someone else describing your book to potential customers.

6. No Insecurity

Don’t compare your book to other books. I see this all the time, and all it does is make the book (and the author) immediately look inferior. Plus, a reader may hate the book you are comparing yourself to and you’ll lose them.

The only place a comparison makes sense is if you are quoting a very reputable source that makes the comparison itself.

7. Don’t Insist on Doing it Yourself

I can’t tell you how many amazing authors I’ve had come to me utterly befuddled because they couldn’t write their own book description.

This is normal.

The reality is that the author is often the worst person to write their own book description.

They’re too close to the material and too emotionally invested. If this is the case, we recommend either asking a friend to help, or going to a professional editor or even better—a professional copywriter—for assistance.

The Scribe Crew

Read this next.

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12 Most Important Pieces of Audiobook Recording Equipment

11 Using Description

Description is the tool writers use to make things come alive for their readers, to make sure that their audience is fully immersed in the words on the page. Every time you tell a story to someone, or tell someone about something, you use description even if you don’t know it.  Description can be as basic as, “I have a blue car” or “That is such a cute baby” or as detailed as “ The flowers soak up the golden sun’s rays and begin to show their vibrant colors.”  Descriptive words are used to provide more information and provide added insight.  In fact, a description is the one tool that most allows writers (and speakers) to show instead of just tell, which enables us to exemplify our points to our readers.

There are two basic types of description,  objective  and  subjective .  An objective description is demonstrated in the first two examples above; it gives a factual account of the subject.  A subjective description offers a more personal view of the details by choosing specific words and phrases such as vibrant  to describe colors in the above example.  Vibrant doesn’t just offer detail about the colors, it also offers an opinion or a value judgment within the description.  Most descriptions offer a mix of the two to convey the details while also offering the audience an idea of the emotional context of the subject being described.

Sensory Details

 All expressive description, however, uses  sensory details  as its basis.  These are details that appeal to the  five senses —sight, smell, sound, taste, and touch .  Of course, different subjects lead themselves to an emphasis on different sensory details and not all subjects require a use of all five senses.  We all recognize the importance of sight as a descriptive tool, but we don’t always realize how important other sensory details can also be.  Consider, though, how often you will smell a certain smell and instantly think of something or someone specific.  You might smell freshly baked bread and think of your grandma’s kitchen, or popcorn and think of a movie theater.  Hearing a certain phrase might make you think of an old friend or acquaintance.  You might associate a certain type of material with a blanket you had as a child. When you take a bite of pepperoni pizza you might be reminded of the slumber parties of your youth.  Sensory details really can play an important part in making a description come alive.

Practice Step 1

Choose an everyday object. Write a description of that object that appeals to all five senses in a way that does not state the object.

Practice Step 2

On a separate sheet of paper, describe the following five items in a short paragraph. Use at least three of the five senses for each description.

Using Concrete Description

Try to use specific, concrete descriptions. For example, a writer may write  beautiful  to describe a tree. However,  beautiful is too vague. Instead, a concrete adjective or modifier would be stronger and gives a greater impact. The reader needs details for a picture to form in their heads, abstract concepts like  beautiful  lack a real-world analog.

Here’s a reworked description of the tree: “the sun’s rays glistened off the rain-slick leaves, even as the afternoon sky dipped towards evening.” The  beautiful  qualities of the tree are “shown” through concrete details instead of merely told through abstraction. This gives the reader the illusion of immediate experience, as opposed to the dictionary variety.

Similes and Metaphors

Another way to add descriptive language is to use  similes  and  metaphors , creating a picture in readers’ heads by comparing two objects to each other. Similes and metaphors help to make connections between two ideas, concepts, or objects that clarify or give new meaning.

A  simile  is a comparison using the words like or as. It usually compares two dissimilar objects. For example, the bread was as dry as a bone. The comparison links a piece of bread that has become hard and white to a bone that is also hard and white. Bones often dry out, and so does bread. These similar characteristics are what make the simile effective.

A  metaphor states that one thing is something else. It is a comparison, but it does NOT use like or as to make the comparison. For example, my grandmother is an open book. The comparison implies that my grandmother is full of information that she willingly shares with others.

To make a simile or metaphor, identify an object like a sunset, tree, or river, or a concept like love, peace, or anger. Then think of another object that has some similar traits. Decide whether the words “like” or “as” will help make the connection more understandable. A good simile or metaphor will make the reader look at both objects in a new perspective.

By adding similes and metaphors to a description paper, the writer can appeal to the readers’ imagination and make the writing more interesting to read. Similes and metaphors add spark to descriptions. However, many cliches come in the form of similes and metaphors, so strive to create comparisons that are specific to your particular subject.

The Structure of a Description Essay

Description essays  typically describe a person, a place, or an object using sensory details. The structure of a descriptive essay is more flexible than in some of the other rhetorical modes. The introduction of a description essay should set the tone and the point of the essay. The thesis should convey the writer’s overall impression of the person, place, or object described in the body paragraphs.

The organization of the essay may best follow  spatial order , an arrangement of ideas according to physical characteristics or appearance. Depending on what the writer describes, the organization could move from top to bottom, left to right, near to far, warm to cold, frightening to inviting, and so on.

For example, if the subject were a client’s kitchen in the midst of renovation, you might start at one side of the room and move slowly across to the other end, describing appliances, cabinetry, and so on. Or, you might choose to start with older remnants of the kitchen and progress to the new installations. Maybe start with the floor and move up toward the ceiling.

On a separate sheet of paper, choose an organizing strategy and then execute it in a short paragraph for three of the following six items:

• Your office
• A coffee shop
• Lobby of a movie theater
• Mystery Option. Choose an object to describe but do not indicate it. Describe it so that you preserve the mystery.

Writing a Description

In order to write descriptively, you must take a topic and decide how to make that topic vivid for your audience. If the topic of the piece is merely to describe a particular place, you must decide what elements of that place, when described in text, will become most vivid for your audience. The first step in any descriptive writing is to choose a topic and begin to work out a   thesis statement . You may choose to describe a particular place.

Sample Thesis Statement

Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.

We can see in this thesis statement that the writer will attempt to show the aspects of Minnesota that make it a great place to live. After detailing a thesis statement, you should come up with a list of sensory words that provide vivid detail and support the thesis. You may start by thinking about the five senses. How does your particular place look, smell, feel, taste, and sound like? How can you best describe these senses so the reader feels what you feel? By organizing the elements of descriptive language into easier to handle sections, like the five senses, you are able to more specifically engage in what elements of the description are most useful.

Order of Presentation

The writer in this case could choose to present the positive aspects of Minnesota in terms of the seasons and weather changes. The details could be presented linearly, starting with spring and going through the winter, highlighting the aspects of each season that most closely support the thesis, that Minnesota is a great place to live.

Prior to starting the essay, give some thought to the audience of your piece. Who is going to read the essay, and what effect would you like it to have upon the readers? An awareness of audience is important in choosing the level of formality you take with your writing. Knowing your audience will also help you distinguish which details to include throughout your essay. Assume that your audience knows very little or nothing about your subject matter, and include details that may seem obvious to you.

Example Audience: In this particular essay, the writer wants to show an outsider to the state why Minnesota natives are so happy to live there. The essay should help break down stereotypes for those outsiders about Minnesota’s cold weather and apparent drabness. Because the essay is designed for those who do not live in Minnesota, and maybe have never been there, it is important to include details about the state that may seem obvious to a native.

With the preparatory work complete, it is time now to begin writing your essay. Use your thesis statement to begin to construct an introductory paragraph. The introduction should set up the basis for your essay, and the thesis statement should state its purpose.

Introduction

Example Introduction

 Many who have not traveled to the state of Minnesota only hear of its cold weather and boring reputation. They are sure missing out on the great opportunities that Minnesota affords. Each season offers different senses that native Minnesotans and tourists know and love. Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.

With the introduction complete, it is time to start constructing the body paragraphs of your essay. Each body paragraph should have a central theme in itself, and that theme should be represented in a topic sentence. Consequently, each sentence of the paragraph should relate to and support the topic sentence. The body paragraphs are where the majority of the details should be given. When writing the first draft of your descriptive essay, include as many details as is reasonably possible. You can always eliminate the ones that do not serve the essay as well when you are revising your draft. In the case of the Minnesota nature essay, we have decided to set up the body paragraphs in terms of season, starting with spring.

Example Body Paragraph

Spring in Minnesota brings new life to the state after the long winter season. The rain washes the landscape clean, leaving its fresh aroma for all to enjoy. The flowers soak up the golden sun’s rays and begin to show their vibrant colors. The first birds can be seen and heard throughout the woods and fields, telling their stories in beautiful songs. The lakes begin to show their glossy finish as the ice melts away slowly under the heat of the season.

With the body paragraphs complete, it is time to bring the essay to a close with the conclusion. The conclusion should draw a conclusion based on what has been presented throughout the body of the essay. It needs to return to the thesis, but not in an overt way. The conclusion should give the reader a final sense of what the essay was meant to portray. Remember that there should not be any new material introduced in the conclusion, and the way it is worded should give the reader a sense of finality.

Example Conclusion

The variety of activities and distinct seasons found in Minnesota reveal diverse beauty of this state. As one considers the benefits of each season, it becomes clearer why so many native Minnesotans are content with their home state. Minnesota is truly a wonderful place to live.

With the essay complete, it is time to reread and revise your essay (also see revision sections of this textbook). Read your first draft and pinpoint all of the descriptor words you used. If possible, go back and add more after the ones you already used in the essay. If you can, read your essay aloud to a friend and have him/her tell you what images are vivid and what images need more development. Rework any images that are cloudy with more descriptions. Also, check to see if your descriptions have made use of all of the five senses: sound, smell, texture, sight, and taste. Repeat these steps as many times as necessary until you are happy with your product.

Key Takeaways

• Description essays should describe something vividly to the reader using strong sensory details.
• Sensory details appeal to the five human senses: sight, sound, smell, taste, and touch.
• A description essay should start with the writer’s main impression of a person, a place, or an object.

External Links

Checklist of  Things to Consider   (https://tinyurl.com/y7zegezs) when writing a description.

Susan Berne visits New York and describes her impressions in  Where Nothing Says Everything   (  https://tinyurl.com/yboc9m9s), also called  Ground Zero.  Another link to the story is  here   (https://tinyurl.com/y99fchlw).

Heather Rogers provides a detailed description (book excerpt) of a landfill that challenges the reader to consider his or her own consumption and waste in  The Hidden Life of Garbage   (https://tinyurl.com/y7sb348m).

Sample Descriptive Essay

America’s Pastime

As the sun hits my face and I breathe in the fresh air, I temporarily forget that I am at a sporting event. But, when I open my eyes and look around, I am reminded of all things American. From the national anthem to the international players on the field, all the sights and sounds of a baseball game come together like a slice of Americana pie.

First, the entrance turnstiles click and clank, and then a hallway of noise bombards me. All the fans’ voices coalesce in a chorus of sound, rising to a humming clamor. The occasional, “Programs, get your programs, here!” jumps out through the hum to get my attention. I navigate my way through the crowded walkways of the stadium, moving to the right of some people, and to the left of others, I eventually find the section number where my seat is located. As I approach my seat I hear the announcer’s voice echo around the ballpark, “Attention fans. In honor of our country, please remove your caps for the singing of the national anthem.” His deep voice echoes around each angle of the park, and every word is heard again and again. The crowd sings and hums “The Star-Spangled Banner,” and I feel a surprising amount of national pride through the voices. I take my seat as the umpire shouts, “Play ball!” and the game begins.

In the fifth inning of the game, I decide to find a concessions stand. Few tastes are as American as hot dogs and soda pop, and they cannot be missed at a ball game. The smell of hot dogs carries through the park, down every aisle, and inside every concourse. They are always as unhealthy as possible, dripping in grease, while the buns are soft and always too small for the dog. The best way to wash down the Ball Park Frank is with a large soda pop, so I order both. Doing my best to balance the cold pop in one hand and the wrapped-up dog in the other, I find the nearest condiments stand to load up my hot dog. A dollop of bright green relish and chopped onions, along with two squirts of the ketchup and mustard complete the dog. As I continue the balancing act between the loaded hot dog and pop back to my seat, a cheering fan bumps into my pop hand. The pop splashes out of the cup and all over my shirt, leaving me drenched. I make direct eye contact with the man who bumped into me. He looks me in the eye, looks at my shirt, and tells me how sorry he is. I just shake my head and keep walking. “It’s all just part of the experience,” I tell myself.

Before I am able to get back to my seat, I hear the crack of a bat, followed by an uproar from the crowd. Everyone is standing, clapping, and cheering. I missed a home run. I find my aisle and ask everyone to excuse me as I slip past them to my seat. “Excuse me. Excuse me. Thank you. Thank you. Sorry,” is all I can say as I inch past each fan. Halfway to my seat I can hear discarded peanut shells crunch beneath my feet, and each step is marked with a pronounced crunch.

When I finally get to my seat I realize it is the start of the seventh inning stretch. I quickly eat my hot dog and wash it down with what is left of my soda pop. The organ starts playing and everyone begins to sing “Take Me Out to the Ball Game.” While singing the song, putting my arms around friends and family with me, I watch all the players taking the field. It is wonderful to see the overwhelming number of players on one team from around the world: Japan, the Dominican Republic, the United States, Canada, and Venezuela. I cannot help but feel a bit of national pride at this realization. Seeing the international representation on the field reminds me of the ways that Americans, though from many different backgrounds and places, still come together under common ideals. For these reasons and for the whole experience in general, going to a Major League Baseball game is the perfect way to glimpse a slice of Americana.

Attributions

• Content adapted from  Chapter 5 – Rhetorical Modes  by Jenifer Kurtz is licensed under a  Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License

English 101: Journey Into Open Copyright © 2021 by Christine Jones is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How to Write a Book Description That Attracts Readers: 8 Easy Tips

POSTED ON Oct 25, 2023

Written by Sharyl Calhoun

Learning how to write a book description that actually gets people interested in buying your book is important for increasing book sales and creating buzz.

Think about it. What makes you pick up or download a new book at the bookstore?

Unless you are a huge fan of the book’s author, you’re first drawn to a catchy title and cover appeal – a provocative illustration or that unique book cover design .  

But when you want to know if the book is worth reading (and worth paying good money for), you flip to the back cover or read the description on the website.

There (or just inside the cover), the author has written a “blurb” or description about the book .

The book description includes just enough about what is going to happen in the book, to make the reader yearn for answers to all the questions flitting through his or her mind…if the author has succeeded in writing a captivating description . So how do you write a book description successfully?

For self-published authors, it's even more important to craft the ultimate book description , so that when people land on your book's site page, they will be drawn to purchase or download your book. You don't want all the work you did writing the book to go to waste.

So how do authors do it, you ask? In this article, we'll show you how to write a book description that sells, captivates, and entices the reader to keep reading.

This blog on how to write a book description will cover:

8 tips for how to write a book description that sells.

Whether you're a fiction or nonfiction author, your book description is the reader's first introduction to the pages beyond the cover. It's important to capture interest, spark interest in the topic or theme, and give them just enough information that they can't help but buy the book for the whole story.

Just follow these tips for how to write a book description, and no one will want to put your book down!

1. Start with a hook sentence

What is the critical issue in your book…the problem that demands to be solved? You need to know the answer before you can learn how to write a book description successfully.

With clever wording, a problem statement might be a great hook to catch potential readers’ attention. Then you can “reel” them in to purchase your book, using the rest of your well-worded blurb.  

2. Write in the 3rd person point of view 

When you write a book description, you should use the 3rd person point of view. That means using no “I’s” or “you’s”…only “he” or “she.”  In fact, it shouldn't even be written in your “author voice.” When learning how to write a book description, you should pretend to be someone else who is describing your book to potential readers.

3. Word your book description in a way that evokes emotion on-the-spot!

Does the main character greatly fear something? Make the reader feel a bit of that fear. Has the character suffered great loss?

Make the reader sympathize with the character’s distress. We want to understand the emotions the character is going through and what the character motivation is. This can help readers get hooked before they even turn the first page.

4. Tell enough about the plot to make people want to read the book

 Introduce the main character and the problem of your story in a compelling way. Offer just enough hints about events in the story to pique reader interest without giving away any of the juicy details.

5. Focus on your book, not on yourself!

When learning how to write a book description, you shouldn't make it about yourself. A brief author byline is fine, but readers want to know about the book! If you must mention yourself, remember to continue writing in the 3rd person point of view. Refer to yourself as he or she – you are merely acting as a reporter.

Place the byline last, with a definite space to separate it from the exciting book description.

In most book descriptions, you'll find a short paragraph about the author only after the actual book teaser has been given.

Here is an example of how to write a book description that includes a concise, informational paragraph about the author.

6. Don’t give away the ending

This might be a no-brainer, but while practicing how to write a book description, you can't give away the conclusion!

If you share the end of your book on your book cover, why will the reader bother to open the pages?

Give just enough information so that the reader can understand the story's setting and context, but don't give away the entire storyline. Leave the reader intrigued enough to want to purchase your book, so that they can discover the ending or any surprise twists on their own.

7. Add a brief testimonial or endorsement

Only use this feature if it enhances your book description. 

• The testimonial is a brief blurb by someone who has read the book and has found help or satisfaction by reading your book.  
• An endorsement is usually a succinctly-worded paragraph by someone, whose authority the reader will recognize, who reads your book and agrees that you are qualified to write this particular book. 

8. Keep practicing!

The best way to learn how to write a book description is to write a bunch of them! Write multiple attempts of your book description. Revise your favorite version as many times as you need to, until you are satisfied with the results.   Of course, sometimes, the only way to learn how to write a book description that actually sells is to get outside input. While you will make the final decision for the book description, it is important to listen to outside suggestions. After all, YOU are not the person buying your book!

Let several colleagues and potential readers (of the appropriate age level) look over your best attempts and offer their input.

BONUS: How to write a book description for nonfiction books

If you are trying to learn how to write a book description for a nonfiction book, it might be slightly different than a fiction book. After all, you aren't evoking character emotions or teasing about a plot!

Use these questions to help you learn how to write a book description for nonfiction works:

• Do you offer a unique point of view on a particular topic?
• Do you have years of experience in research or practice?
• Does your “author’s voice” appeal to the reader in a special way? 
• Do you bring new knowledge to the reader which other writers have not done?
• Are the illustrations or photographs of exceptional quality and rarity?

How to write a book description, when the book is not yours…

If you’re writing a book description for someone else’s back cover, be sure to follow the suggestions above. 

Several years ago, I was privileged to be a ghostwriter for a unique book of memoirs. You can read the book description I provided at Harbor Knight: From Harbor ‘Hoodlum’ to Honored CIA Agent . 

When writing the back cover description for a book of memoirs that stretches over a lifetime, it can be challenging to pinpoint that single, most important thread that describes the path this person has trodden through life. 

But that is precisely what you need to share with the reader. What made this person unique? 

If this is a book of memoirs , you need to know the person’s story fairly well in order to learn how to write a book description about them. Do a brief interview to understand the person’s background. Make sure that you read the whole book manuscript. This will help you find common themes and personality traits that run from one decade into the next.

Use the person’s own words, when possible, so that his or her voice is heard. Be respectful with this task you’ve been asked to perform. 

If (for some reason) you find the manuscript distasteful and feel that you are not able to offer a captivating description for the back cover, do the right thing. Turn down the request to write this particular book description.

Now that you have plenty of tips for how to write a book description, I'd like to show you a few examples of my own book descriptions so you can learn from them and from their writing process.

A few examples of how to write a book description

Here is an example of a back cover description from my first children’s chapter book .

Swimming brings back a nightmare that Rebecca Fishburn would much rather forget.  So when the gym teacher announces plans to take the class swimming for the next two weeks, Reb can think of nothing else…and she is terrified!  She must do whatever it takes to stay out of the water.  Reb is convinced that she must lie…or she just might drown! Reb Fishburn: In Too Deep

I played around with the description for several weeks, before settling on the blurb (see above) for my back cover. I wanted to write “ Reb is convinced that she must lie or she just might die.”   I wanted to help the reader experience the enormity of Reb’s fear.

But after sharing this rough draft with other elementary school teachers and parents, they felt that the sentence wording was too horrific for the young reader.

I took their advice and changed that single word. After all, the potential buyers of my book include teachers and parents. If they found the sentence offensive, so might many others. 

For another children’s book I wrote, I used a simile to tease the reader’s curiosity :

You might not expect to discover gold on a country farm, but Grandpa knows just where to find this hidden treasure. Dig into Grandpa’s Hidden Gold Farm for a sweet and yummy treat! Grandpa's Hidden Gold Farm

The cover illustrations and the title offer clues about the kind of hidden treasure tucked inside the book, but the description never mentions bees or honey! 

Sophia and the Bully is a children’s book I wrote for Hameray Publishing’s Kaleidoscope series. The company chose the following description to sell this book (202 words) on their website: 

It is the first day of school for a new student and she is faced with a bully. This book helps readers understand that sometimes the most bothersome people may just be needing a friend.  Sophia and the Bully

The person writing this description chose to offer the reader a brief main idea paragraph , without revealing any of the events from the story. The book, written for beginning readers, contains only 12 pages. In that case, describing any single event would be to give away the whole story! 

When deciding how to write a book description, you must think of who your audience will be, and make your book description appeal to those individuals.

A teacher, for example, is drawn in by the simple description of this little book for several reasons:

• Throughout the school year in most teachers’ classrooms, new students come and go.
• Just because a child can do annoying things to other students, that does not mean the child is a bully. 
• Students need to know the difference between a bully and a potential friend .
• Bullying is a theme the school wants addressed in the classroom.
• Reading a book aloud to the class or having a small group of beginning readers read the book together offers the teacher a non-threatening way to discuss bullying.

Obviously, the genre of your book will affect how to write a book description greatly.

Here is how to write a book description for other genres:

• A cookbook may entice readers with delicious words and samplings from the specific type of recipes written between the covers.
• A thriller might show the comparison between this book and a similar tale by a better-known author–with just enough details to send chills up the reader’s spine.
• A romance will certainly tug on the reader’s heartstrings, divulging the names of the main characters and suggesting a problem that could keep the two from coming together!
• A nonfiction book will provide an overview of what new and exciting concepts or facts the reader is going to learn. If any special chapters, illustrations or photos are included in the book, these should be mentioned in the book description.
• A self-help book will describe the book’s layout and explain why the author is qualified to write a new book on this particular topic. A few details or a real-life example from the chapters within will show the reader that he or she may have finally found the answer to his or her problem.
• A historical fiction book will place the fictional main character within an accurately depicted time and place, when an event of great magnitude (from actual history) is about to happen – and a captivating book description will include all of these details.

…and the list goes on. 

The best way to know how much detail to include in your description is by traveling to the local library or bookstore and holding real books in your hand.

There, you’ll have thousands of books at your fingertips. You will quickly realize how one author works his or her magic, causing you to want to read more, and why another author’s book cover fails to pique your interest.

Become familiar with how other writers within your genre handle the back cover book description. See for yourself how the title, cover illustrations, and book description work together to make the reader want to know what lies within the pages.

Spread your book description far and wide!

The primary reason you have just spent so much time and energy writing this winning book description is to sell your book ! 

Write it. Rewrite it. Play with adjectives, phrases, and different literary techniques . Move sentences around to make it flow more easily.

Remember, if you must put your byline on the back cover, do so at the very end.

Set it apart from the book description…unless, of course, you’ve already written a popular book or you are famous in some other way. Then your name is almost as important as your book’s content.

Be clever. And give this book cover the most captivating description that you have ever read!

If your book description is clever enough, the “blurb” that you have just written can be used to promote your book in many places .

Here's where to include your book description:

• Newspaper press release (this is free advertisement, in most newspapers)
• Your book launch event (this may be free if you agree to be interviewed)
• Catalog item description for companies who will sell your book
• Letter to potential storefronts wanting to sell your book 
• Brochure for groups wanting to use your book for book talk
• Amazon listing
• Your author website
• Social media posts–personal and professional sites

Now you know exactly how to write a book description and what to do with it when you are done – so get your words out there and wow the world.

What type of book description will you write?

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Essay on My Favourite Book for Students and Children

500+ Words Essay on My Favourite Book

Essay on My Favourite Book: Books are friends who never leave your side. I find this saying to be very true as books have always been there for me. I enjoy reading books . They have the power to help us travel through worlds without moving from our places. In addition, books also enhance our imagination. Growing up, my parents and teachers always encouraged me to read. They taught me the importance of reading. Subsequently, I have read several books. However, one boom that will always be my favourite is Harry Potter. It is one of the most intriguing reads of my life. I have read all the books of this series, yet I read them again as I never get bored of it.

Harry Potter Series

Harry Potter was a series of books authored by one of the most eminent writers of our generation, J.K. Rowling. These books showcase the wizarding world and its workings. J.K. Rowling has been so successful at weaving a picture of this world, that it feels real. Although the series contains seven books, I have a particular favourite. My favourite book from the series is The Goblet of fire.

When I started reading the book, it caught my attention instantly. Even though I had read all the previous parts, none of the books caught my attention as this one did. It gave a larger perspective into the wizarding world. One of the things which excite me the most about this book is the introduction of the other wizard schools. The concept of the Tri-wizard tournament is one of the most brilliant pieces I have come across in the Harry Potter series.

In addition, this book also contains some of my favourite characters. The moment I read about Victor Krum’s entry, I was star struck. The aura and personality of that character described by Rowling are simply brilliant. Further, it made me become a greater fan of the series.

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

What Harry Potter Series Taught Me?

Even though the books are about the world of wizards and magic, the Harry Potter series contains a lot of lessons for young people to learn. Firstly, it teaches us the importance of friendship. I have read many books but never come across a friendship like that of Harry, Hermoine, and Ron. These three musketeers stuck together throughout the books and never gave up. It taught me the value of a good friend.

Further, the series of Harry Potter taught me that no one is perfect. Everyone has good and evil inside them. We are the ones who choose what we wish to be. This helped me in making better choices and becoming a better human being. We see how the most flawed characters like Snape had goodness inside them. Similarly, how the nicest ones like Dumbledore had some bad traits. This changed my perspective towards people and made me more considerate.

Finally, these books gave me hope. They taught me the meaning of hope and how there is light at the end of the tunnel. It gave me the strength to cling on to hope in the most desperate times just like Harry did all his life. These are some of the most essential things I learned from Harry Potter.

In conclusion, while there were many movies made in the books. Nothing beats the essence and originality of the books. The details and inclusiveness of books cannot be replaced by any form of media. Therefore, the Goblet of Fire remains to be my favourite book.

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Books | how josé vadi’s essay collection ‘chipped’ explores the skateboarder’s experience, the author grew up in pomona and spent his youth skating around southern california's san gabriel valley and inland empire..

To a skater, the board is an extension of the body. And like a skateboard, an aging body can show life’s hard knocks.

“Skateboarding is truly rebellious and punk in its ethos,” said author José Vadi . “Nobody should care how old someone is just as much as someone shouldn’t care about their sexual orientation, gender, economic background. None of those things should be the determining factor of your ability to enjoy yourself on a skateboard.”

Vadi explores these ideas and more in his sophomore collection of essays, “Chipped: Writing from a Skateboarder’s Lens,” out on Tuesday, April 16.

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“Having an active relationship with skateboarding means having an active relationship with your body – but also the realization of your own mortality,” Vadi said in a recent phone interview from his Sacramento home. “That happens every time you try a trick, whether or not you’re gonna land or get injured, and as your body changes over time.”

As a skater, he has been keenly aware of his changing body with each passing decade. The book’s second essay documents a bad fall he had in 2019 and the excruciating pain that lingered on for weeks. His description of the experience, like much of the collection of essays, is written with sharp prose.

“As an older skater who is graying, you definitely feel self-conscious, not just because of your age but your ability at your age, or lack thereof,” he said.

Vadi grew up in Pomona and began skating in the mid-’90s, on the cusp of his teenage years. The book transitions between skating around Southern California’s San Gabriel Valley and Inland Empire and skating the streets of San Francisco and Berkeley. He also looks at how much has changed since he began.

“In the wake of all these new skate parks that have developed over the past 20 years, these kids are so good out of the gate. The baseline barometer of what is considered proficient in skateboarding today is what we would consider pro in the ’90s,” He said.

The book provides insight into what it’s like for kids skating out of suburbia to find themselves – or other like-minded skaters who are also exploring the freedom the board bestows.

“You’re so bound to a car, and skateboarding gives you a vehicle, metaphorically and literally, to re-explore your world,” he said. “Growing up in the suburbs, things can get very dull, very quick, and skateboarding allows you to reenergize and reimagine an environment.”

That reimagining can be literal, such as turning an empty industrial space into a landscape bursting with creative possibilities. “It’s turning a loading dock into a skatepark,” says Vadi.

The essays also illustrate the impact that skating had on popular culture, touching on MTV, skating publications such as Thrasher Magazine, and videotapes of riders that got passed around skating scenes and shops around the country.

Music also plays a large role in the book. Vadi writes about how skating incorporated punk, hip-hop, heavy metal, and other genres that helped redefine its culture. In one essay, he investigates the connections between jazz and skating, arguing that the musician and composer known as Sun Ra is a skater despite never stepping on a board.

“If I’m writing through skateboarder’s lens and am really going to try to own that perspective, it has to be inclusive of as much of those different strands as possible,” he said.

As much as the book is about skating, it also reminds readers of the beauty in the documentation of ourselves and the interests we acquire through our lived experiences.

“I feel like ‘Chipped’ is a redocumentation by way of articulation,” he said. “It reflects this larger need to document … and to articulate the many ways that this thing that we care about can impact someone.”

“The point is not to be better than anyone else, or to necessarily compete,” he said. “The point is to enjoy the act itself and in comradery with others.”

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Essays and Soliloquies

Publisher description.

Essays and Soliloquies (original title in Spanish: Ensayos y Soliloquios) is a collection of essays and philosophical musings written by Miguel de Unamuno, a prominent Spanish philosopher, writer, and existentialist of the late 19th and early 20th centuries. The book contains a series of Unamuno''s thought-provoking essays covering various topics related to existentialism, culture, literature, and the human condition.

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Does It Seem Like the End Times Are Here? These Novels Know Better.

What can fiction tell us about the apocalypse? Ayana Mathis finds unexpected hope in novels of crisis by Ling Ma, Jenny Offill and Jesmyn Ward.

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By Ayana Mathis

Ayana Mathis’s most recent novel, “The Unsettled,” was published in September.

• April 11, 2024

On the day my mother died, I sat by her bedside and read the Psalms. The room was quiet — the need for machines had passed — save for the sound of my voice and my mother’s labored breathing. Outside her room, the hospital went about its business: Lunch trays were delivered, nurses conferred, a television played too loudly down the corridor. Out there, time passed in its usual, unremarkable way. In her room, my mother and I had stepped off time’s familiar track.

Everything inessential vanished in her final hours. I read the Psalms because they comforted her. I told her I loved her. She squeezed my hand, which, in that afternoon when she was no longer able to speak, was as profound an expression of love as any words had ever been. When she died hours later, I knew that on the other side of her hospital room door there awaited, at least for me, an altered world.

The subject of this essay is apocalypse, and so I have begun with an ending. If you have lost a deeply beloved, then you have experienced the obliterating finality of death, that catastrophe in the small universe of an individual life. The loss also brings a realization: The “worst thing” that could happen is no longer a future projection; it has exploded into the present.

Apocalypse is generally understood as a future event: widespread suffering, extinctions, various iterations of end-time destruction gunning for us from some tomorrow. Out there, in the vast, unknowable not-yet, apocalypse roars. It paralyzes us with fear, deadens us into numbness or provokes us to hysteria. We are powerless in its face.

But what if we could change our relationship with the end by shifting our perspective on it? The first step might be dwelling more profoundly in the here and now where our crises amass, rather than focusing on the boogeyman future. We already know something about how to do this: We are creatures of loss; we have confronted, or will confront, the “worst things” in the real time of our lives. There is a precedent, then, for how, in this moment, we might collectively approach the apocalyptic worst things. While our beloved still lives, there is possibility: We can give her our attention; we can hold her hand.

I won’t downplay the current horrors — tens of thousands dead in Gaza, conflict in Ukraine, the high-stakes presidential election on the horizon — or imply that all will turn out right. The novels in this essay don’t do that either. Instead, they suggest new ways of seeing: a shift to deeper present-time awareness, even wonder, as the times grow ever more dire. The theologian Catherine Keller calls this “apocalyptic mindfulness.” “A cloud of roiling possibility seems to reveal itself,” she writes in “Facing Apocalypse” (2021). “It guarantees no happy ending. It may, however, enhance the uncertain chance of better outcomes.”

Many of our end-time notions are inflected by the biblical Book of Revelation. Its phantasmagoric visions and lurid scenes of destruction have thoroughly infiltrated Western talk of the end: the Four Horsemen, the beast we call the Antichrist (though Revelation doesn’t use the term), fires, plagues and raging pestilence. It may come as a surprise, then, that apokalypsis, the Greek word for “revelation,” means not “ending” but “unveiling.” As Keller writes, “It means not closure but dis-closure — that is, opening. A chance to open our eyes?” But, to what?

In Ling Ma’s novel “ Severance ” (2018), newly pregnant Candace Chen wanders a near-deserted New York City in the midst of a pandemic caused by a disease called Shen Fever. The majority of the city’s residents have fled or become “fevered,” a zombielike state that leaves victims stuck on repeat: a family endlessly setting the table and saying grace; a saleswoman, her jaw half eaten by decay, folding and refolding polo shirts at an abandoned Juicy Couture store on Fifth Avenue. The fevered are the least threatening zombies imaginable: so busy with their mindless performance of mundane tasks that they don’t notice the living. Ma has a knack for nuanced satire.

Candace sticks around because she’s got nowhere else to go; she’s the orphaned child of Chinese immigrants who died years before. Inexplicably, and perhaps somewhat to her dismay, she remains virus-free. As the pandemic shuts down the city, she doggedly persists with her job in the Bibles department at Spectra, a book production company: “I clicked Send, knowing it was fruitless,” she says. When public transportation stops entirely, she moves into her office on the 32nd floor, overlooking an empty Times Square.

It doesn’t take long to understand that a vast grief underlies Candace’s workaholic paralysis. So intense is her mourning for her parents that for a while the pandemic hardly registers. She needs to hold on to something, even pointless work at Spectra. The office setting is no coincidence: In some sense, Candace, too, is fevered, and her job’s rote repetition is a kind of anesthetic.

The dull but familiar grind of late-capitalist working life acts as a numbing agent, or perhaps a blindfold. When work dries up because the rest of the world is no longer at its desk, Candace rambles around the city utterly alone, taking pictures of derelict buildings that she posts on a blog she calls “NY Ghost.” One afternoon she enters a flooded subway station. “You couldn’t even see the water beneath all the garbage,” Ma writes. “The deeper you tunneled down, the bigger the sound, echoed and magnified by the enclosed space, until this primordial slurp was all that existed.” Grieving Candace is adrift, her internal landscape aligned with the desolation of the external world.

Published two years before the Covid pandemic, “Severance” offers an eerily prescient description of a nation shocked and exhausted. For so many, 2020 was a kind of apocalyptic unveiling. The pandemic revealed the fault lines in our health care and our schools, as well as the fact that so many of us were living in perpetual economic precarity. Then there were the deaths, which as a country we have hardly begun to mourn. Painfully and all at once, we understood the fragility of the systems we relied on, and the instability of our own lives.

Yet alongside the devastation there was transient beauty: In many places, air and water quality improved during lockdown and wildlife resurged. Health-care and essential workers were acknowledged and more respected; we realized the extent of our dependence on one another. If only for a little while, we were thrown into Keller’s “apocalyptic mindfulness.” But the eye snapped shut. We “recovered,” and, like Candace, we find ourselves once again in a collective disquiet, punctuated by bouts of terror as we contemplate the future.

On the final afternoon of her wandering, Candace ventures into the same Juicy Couture store she’d photographed weeks before. Ominously, the fevered saleswoman has been bludgeoned to death. Candace’s unborn child seems frightened too: “The baby moved inside of me, fluttering frantically.” Candace leaves Manhattan through the Lincoln Tunnel in a yellow taxi she’s commandeered from a fevered driver. She joins a band of survivors led by a creepy zealot named Bob, a former I.T. guy who wears a brace for carpal tunnel syndrome, that most banal of white-collar work maladies. They journey to the Chicago suburbs to homestead in a deserted mall. (I told you Ma has a knack for satire.)

In this semi-cult, Candace’s grief intensifies. She begins to have visions of her mother, who warns her that she and her unborn baby aren’t safe with Bob. Candace’s mother is right. Bob has a penchant for shooting the fevered in the head if he encounters them when he and the others go “stalking” for food and supplies. We squirm at these killings, even if the victims are not quite alive, at least not in the usual sense. Bob’s violent demagoguery opens Candace’s eyes to her metaphorically fevered state, and as we look into the mirror the novel holds up to us, we begin to wonder about our relationship to our own beleaguered world.

At last, Candace’s fever breaks and, fully alive, she escapes Bob and the others in a Nissan stolen from the group’s mini-fleet. She drives into once grand Chicago, swerving to avoid abandoned cars clogging Milwaukee Avenue. Finally, she runs out of gas. “Up ahead there’s a massive littered river, planked by an elaborate, wrought-iron red bridge,” she recounts. “Beyond the bridge is more skyline, more city. I get out and start walking.”

The “end” for Candace and her baby is not, in fact, an ending, but rather, an awakening that follows revelation.

If “Severance” chronicles its protagonist’s end-time stirrings from the stupor of grief, Jenny Offill’s novel “ Weather ” (2020) is its manic cousin, a diaristic account of climate anxiety. Narrated in the first person, aggressively present tense and composed of short chapters that leap from association to observation, the book is like a panicked brain in overdrive.

“Weather”’s protagonist, Lizzie, works as a university librarian in New York City. Her former professor, Sylvia, a climate change expert, finagled the gig for her though Lizzie isn’t really qualified. “Years ago, I was her grad student,” Lizzie explains, “but then I gave up on it. She used to check in on me sometimes to see if I was still squandering my promise. The answer was always yes.”

Lizzie is all wry self-deprecation. As the book progresses, we understand that she is less an underachiever than an empath, so often overwhelmed that her focus scrambles. Or perhaps it’s that she is deeply attentive to things we try to ignore. Her experience of the world is the opposite of Candace’s near-impenetrable grief. Lizzie is porous. Too much gets in: grave news about the environment, the plights of relative strangers — like kindly Mr. Jimmy, a car-service owner being run out of business by Uber. Lizzie “helps” by taking Mr. Jimmy’s car to various appointments, though she can’t afford it and the traffic makes her late.

The novel doesn’t so much unfold as tumble out over the course of a turbulent year that encompasses Donald Trump’s election in 2016. After Trump’s win, tensions rise in Lizzie’s Brooklyn neighborhood. Even Mr. Jimmy is spewing casual vitriol about Middle Eastern people and car bombs. Lizzie’s husband, Ben, retreats to the couch, to read a “giant history of war.” And I haven’t even mentioned Henry, Lizzie’s depressive, recovering-addict brother, who meets a woman, marries and has a baby, all at whiplash speed. When the marriage implodes, Henry winds up on Lizzie and Ben’s couch, using again and barely able to parent his daughter.

For Lizzie, as for most of us, personal and collective catastrophes run parallel. Her vision of the future grows ever darker. She talks to Sylvia about buying land somewhere cooler, where Eli, her young son, and Iris, her newborn niece, might fare better in 30 years or so. “Do you really think you can protect them? In 2047?” Sylvia asks.

“I look at her,” Lizzie thinks. “Because until this moment, I did, I did somehow think this.” The realization of her helplessness is unbearable, but Lizzie knows she must bear it: This bleak state of affairs is her son’s inheritance.

Lizzie is gripped by grief and despair — she spends far too much time on doomsday prepper websites — both complicated responses to a planet in the midst of radical, damaging change. “In a world of mortal beings,” Keller writes in “Facing Apocalypse,” “it would seem that without some work of mourning, responsibility for that world cannot develop.” Lizzie’s sense of loss and futility is wrenching, but her response attaches her that much more deeply to this world. Her anxiety is acute because the time in which to act is limited and shot through with urgency.

Lizzie experiences her moment as unprecedented; her end-time sensibility suggests an analogy, albeit to a starkly different context. The Apostle Paul also understood himself to be living through an extraordinary rupture in time. Paul's zeal to spread the Gospel through the ancient world was fueled by his conviction that ordinary time, and life, had been profoundly derailed by Christ’s crucifixion, and was soon to end with his imminent Second Coming. Paul believed he was living in an in-between time that the Italian philosopher Giorgio Agamben has aptly called “ the time that remains ,” a phrase borrowed from Paul’s letter to the fledgling church at Corinth. “The time is short,” Paul wrote. “From now on those who have wives should live as if they do not; those who mourn, as if they did not; those who are happy, as if they were not.”

The old world and its rules had not yet passed away but the prospect of Christ’s return cast an altering light on the present, highlighting the impermanence of all things. Everything was revealed to be in flux and therefore subject to reversals and change.

In “Weather,” Lizzie’s frazzled report from the event horizon of impending disaster, the time that remains means that moments are more precious, less bound by previous rules of engagement and more open to radically new ones. Near the end of the novel, Henry reclaims his sobriety, and Lizzie finds renewed, if melancholic, love for this imperiled world. She wants to find a new way to engage, even as she is uncertain what that might be. “There’s the idea in the different traditions. Of the veil,” Lizzie says. “What if we were to tear through it?” The image recalls Keller’s apokalypsis — a revelatory “ dis-closure .”

Jesmyn Ward’s “ Salvage the Bones ” (2011) takes a very different approach to apocalypse. The novel is set over 12 days, before and just after Hurricane Katrina strikes the Gulf Coast. The 15-year-old narrator, Esch, her father and three brothers live in the Mississippi Delta, outside a coastal town Ward calls Bois Sauvage. Unlike other characters we have encountered, Ward’s need no awakening; and time is far too short for existential anxiety or long-term planning.

The novel opens as China, a pit bull belonging to Esch’s brother Skeetah, is giving birth. Moody, commanding China is the love of Skeetah’s young life and as vivid as any human character in the book. “What China is doing is fighting, like she was born to do,” Ward writes. “Fight our shoes, fight other dogs, fight these puppies that are reaching for the outside, blind and wet.” Skeetah hopes to sell China’s puppies for big money. Enough to send his older brother, Randall, to basketball camp, where, the family hopes, he’ll be noticed by college scouts. Enough, perhaps, to help Esch take care of her baby. Esch is pregnant, though not far enough along to show, and she is in love with the baby’s father, her brother Randall’s friend Manny, who keeps her a secret and won’t kiss her on the mouth.

The novel is full of mothers: mothers to be, absent mothers (Esch’s mother died in childbirth years before), animal mothers, even mythical mothers (Esch is fixated on the avenging Medea, whom she’s read about in school). And, of course, Mother Nature is flying across the gulf, heading straight for Bois Sauvage. Mothers in this novel are makers and destroyers. In some cases, they are also unprepared to occupy the role; they are in jeopardy or else the circumstances of their motherhood run afoul of certain proprieties.

Esch’s pregnancy isn’t easy. It may also be hard for readers to accept: Esch is in dire financial straits and young enough to scandalize some of us. Does the prospect of her motherhood elicit the same empathy as Lizzie’s or Candace’s? Whose children do we think of as the hope for the future when the end is nigh? Which mothers are most valued in the collective perception? Not, generally speaking, an impoverished Black girl barely into her teens.

Ward’s concerns are with those who will bear the brunt of the coming storms, both natural and metaphoric, on the page and in the world. Esch and her family face Katrina with nothing besides a few canned goods they’ve scared up, and some plywood nailed over the doors and windows. Esch herself is the sort of vulnerable person Scripture might refer to as “the least of these.” Each time I read the novel, my mind leaps to the biblical Mary, mother of Jesus, a poor, brown, teenage girl who gave birth in a barn because no safer provision was made for her. In that story, the life least protected turns out to be the most essential.

So it is in “Salvage the Bones”: Esch and her unborn child, along with fighting China and her puppies, are the beating heart of this universe. Here, Esch considers which animals flee before a coming storm: “Maybe the bigger animals do,” she reflects. “Maybe the small don’t run. Maybe the small pause on their branches, the pine-lined earth, nose up, catch that coming storm air that would smell like salt to them, like salt and clean burning fire, and they prepare like us.”

With “the small,” or those treated as such, as focal points, Ward’s novel is also an indictment. It’s true that Katrina was a natural disaster, but its effects were preventable, or might have been mitigated. Most of us remember the levees breaking. The disaster’s aftermath — thousands, mostly poor, stranded without food or water; critically ill patients dying in storm-ravaged hospitals ; desperate, unarmed civilians shot by police officers — was entirely the fault of humans.

We might extend Ward’s insight to end-time crises in general, in which other Esches are similarly left with the greater share of suffering. We may not be able to reverse the crises themselves, but we can intervene in the devastation they cause, and to whom.

We have been down a harrowing road; there isn’t much comfort here. But perhaps at this critical juncture in our human story, it is not comfort that will aid us most. Perhaps what will aid us most is to enter more fully into dis comfort. To awaken to our grief, like Candace. To try to tear through the veil, like Lizzie. In this way we might begin to believe that the future is not foreclosed upon, whatever it might look like.

I leave us with Esch’s declaration of hope at the end of Ward’s novel. Esch’s family has survived, but Skeetah is searching for China, who disappeared in the storm: “He will look into the future and see her emerge into the circle of his fire, beaten dirty by the hurricane so she doesn’t gleam anymore … dull but alive, alive, alive.”

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NPR defends its journalism after senior editor says it has lost the public's trust

David Folkenflik

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust. Saul Loeb/AFP via Getty Images hide caption

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust.

NPR's top news executive defended its journalism and its commitment to reflecting a diverse array of views on Tuesday after a senior NPR editor wrote a broad critique of how the network has covered some of the most important stories of the age.

"An open-minded spirit no longer exists within NPR, and now, predictably, we don't have an audience that reflects America," writes Uri Berliner.

A strategic emphasis on diversity and inclusion on the basis of race, ethnicity and sexual orientation, promoted by NPR's former CEO, John Lansing, has fed "the absence of viewpoint diversity," Berliner writes.

NPR's chief news executive, Edith Chapin, wrote in a memo to staff Tuesday afternoon that she and the news leadership team strongly reject Berliner's assessment.

"We're proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories," she wrote. "We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world."

NPR names tech executive Katherine Maher to lead in turbulent era

She added, "None of our work is above scrutiny or critique. We must have vigorous discussions in the newsroom about how we serve the public as a whole."

A spokesperson for NPR said Chapin, who also serves as the network's chief content officer, would have no further comment.

Praised by NPR's critics

Berliner is a senior editor on NPR's Business Desk. (Disclosure: I, too, am part of the Business Desk, and Berliner has edited many of my past stories. He did not see any version of this article or participate in its preparation before it was posted publicly.)

Berliner's essay , titled "I've Been at NPR for 25 years. Here's How We Lost America's Trust," was published by The Free Press, a website that has welcomed journalists who have concluded that mainstream news outlets have become reflexively liberal.

Berliner writes that as a Subaru-driving, Sarah Lawrence College graduate who "was raised by a lesbian peace activist mother ," he fits the mold of a loyal NPR fan.

Yet Berliner says NPR's news coverage has fallen short on some of the most controversial stories of recent years, from the question of whether former President Donald Trump colluded with Russia in the 2016 election, to the origins of the virus that causes COVID-19, to the significance and provenance of emails leaked from a laptop owned by Hunter Biden weeks before the 2020 election. In addition, he blasted NPR's coverage of the Israel-Hamas conflict.

On each of these stories, Berliner asserts, NPR has suffered from groupthink due to too little diversity of viewpoints in the newsroom.

The essay ricocheted Tuesday around conservative media , with some labeling Berliner a whistleblower . Others picked it up on social media, including Elon Musk, who has lambasted NPR for leaving his social media site, X. (Musk emailed another NPR reporter a link to Berliner's article with a gibe that the reporter was a "quisling" — a World War II reference to someone who collaborates with the enemy.)

When asked for further comment late Tuesday, Berliner declined, saying the essay spoke for itself.

The arguments he raises — and counters — have percolated across U.S. newsrooms in recent years. The #MeToo sexual harassment scandals of 2016 and 2017 forced newsrooms to listen to and heed more junior colleagues. The social justice movement prompted by the killing of George Floyd in 2020 inspired a reckoning in many places. Newsroom leaders often appeared to stand on shaky ground.

Leaders at many newsrooms, including top editors at The New York Times and the Los Angeles Times , lost their jobs. Legendary Washington Post Executive Editor Martin Baron wrote in his memoir that he feared his bonds with the staff were "frayed beyond repair," especially over the degree of self-expression his journalists expected to exert on social media, before he decided to step down in early 2021.

Since then, Baron and others — including leaders of some of these newsrooms — have suggested that the pendulum has swung too far.

Author Interviews

Legendary editor marty baron describes his 'collision of power' with trump and bezos.

New York Times publisher A.G. Sulzberger warned last year against journalists embracing a stance of what he calls "one-side-ism": "where journalists are demonstrating that they're on the side of the righteous."

"I really think that that can create blind spots and echo chambers," he said.

Internal arguments at The Times over the strength of its reporting on accusations that Hamas engaged in sexual assaults as part of a strategy for its Oct. 7 attack on Israel erupted publicly . The paper conducted an investigation to determine the source of a leak over a planned episode of the paper's podcast The Daily on the subject, which months later has not been released. The newsroom guild accused the paper of "targeted interrogation" of journalists of Middle Eastern descent.

Heated pushback in NPR's newsroom

Given Berliner's account of private conversations, several NPR journalists question whether they can now trust him with unguarded assessments about stories in real time. Others express frustration that he had not sought out comment in advance of publication. Berliner acknowledged to me that for this story, he did not seek NPR's approval to publish the piece, nor did he give the network advance notice.

Some of Berliner's NPR colleagues are responding heatedly. Fernando Alfonso, a senior supervising editor for digital news, wrote that he wholeheartedly rejected Berliner's critique of the coverage of the Israel-Hamas conflict, for which NPR's journalists, like their peers, periodically put themselves at risk.

Alfonso also took issue with Berliner's concern over the focus on diversity at NPR.

"As a person of color who has often worked in newsrooms with little to no people who look like me, the efforts NPR has made to diversify its workforce and its sources are unique and appropriate given the news industry's long-standing lack of diversity," Alfonso says. "These efforts should be celebrated and not denigrated as Uri has done."

After this story was first published, Berliner contested Alfonso's characterization, saying his criticism of NPR is about the lack of diversity of viewpoints, not its diversity itself.

"I never criticized NPR's priority of achieving a more diverse workforce in terms of race, ethnicity and sexual orientation. I have not 'denigrated' NPR's newsroom diversity goals," Berliner said. "That's wrong."

Questions of diversity

Under former CEO John Lansing, NPR made increasing diversity, both of its staff and its audience, its "North Star" mission. Berliner says in the essay that NPR failed to consider broader diversity of viewpoint, noting, "In D.C., where NPR is headquartered and many of us live, I found 87 registered Democrats working in editorial positions and zero Republicans."

Berliner cited audience estimates that suggested a concurrent falloff in listening by Republicans. (The number of people listening to NPR broadcasts and terrestrial radio broadly has declined since the start of the pandemic.)

Former NPR vice president for news and ombudsman Jeffrey Dvorkin tweeted , "I know Uri. He's not wrong."

Others questioned Berliner's logic. "This probably gets causality somewhat backward," tweeted Semafor Washington editor Jordan Weissmann . "I'd guess that a lot of NPR listeners who voted for [Mitt] Romney have changed how they identify politically."

Similarly, Nieman Lab founder Joshua Benton suggested the rise of Trump alienated many NPR-appreciating Republicans from the GOP.

In recent years, NPR has greatly enhanced the percentage of people of color in its workforce and its executive ranks. Four out of 10 staffers are people of color; nearly half of NPR's leadership team identifies as Black, Asian or Latino.

"The philosophy is: Do you want to serve all of America and make sure it sounds like all of America, or not?" Lansing, who stepped down last month, says in response to Berliner's piece. "I'd welcome the argument against that."

"On radio, we were really lagging in our representation of an audience that makes us look like what America looks like today," Lansing says. The U.S. looks and sounds a lot different than it did in 1971, when NPR's first show was broadcast, Lansing says.

A network spokesperson says new NPR CEO Katherine Maher supports Chapin and her response to Berliner's critique.

The spokesperson says that Maher "believes that it's a healthy thing for a public service newsroom to engage in rigorous consideration of the needs of our audiences, including where we serve our mission well and where we can serve it better."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

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7.3: The Structure of a Description Essay

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• Amber Kinonen, Jennifer McCann, Todd McCann, & Erica Mead
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Description essays typically describe a person, a place, or an object using sensory details. The structure of a descriptive essay is more flexible than in some of the other rhetorical modes. The introduction of a description essay should set up the tone and point of the essay. The thesis should convey the writer’s overall impression of the person, place, or object described in the body paragraphs.

The organization of the essay may best follow spatial order, an arrangement of ideas according to physical characteristics or appearance. Depending on what the writer describes, the organization could move from top to bottom, left to right, near to far, warm to cold, frightening to inviting, and so on.

For example, if the subject were a client’s kitchen in the midst of renovation, you might start at one side of the room and move slowly across to the other end, describing appliances, cabinetry, and so on. Or you might choose to start with older remnants of the kitchen and progress to the new installations. Maybe start with the floor and move up toward the ceiling.

Northwest Indigenous author’s new essay collection highlights her Coast Salish identity

The front cover of author Sasha taqʷšəblu LaPointe's book, Thunder Song. It’s a collection of essays examining the intersection of her Indigenous ancestry, Coast Salish history, queerdom and punk.

CounterPoint Press Publishing

Northwest author Sasha taqʷšəblu LaPointe’s newest book is called Thunder Song. It’s a collection of essays examining the intersection of her Indigenous ancestry, Coast Salish history, queerdom and punk.

OPB’s Paul Marshall spoke to LaPointe about the book. The following is a transcript of the conversation.

Paul Marshall: Your great-grandmother’s presence is evident throughout the book. She’s such a powerful figure while writing this book. Did you learn anything new about her?

Sasha LaPointe: She was such a huge part of my life. She helped in raising us and educating us on our Coast Salish culture. I constantly feel like I’m learning new things about her.

A friend of the family, who was one of her former language students, wrote a really beautiful book about her life called “ Where The Language Lives .” I was reading that shortly after the publication of “ Red Paint ” (LaPointe’s 2022 autobiography), and there were really interesting things about her younger life. I had no idea that she knew how to read tea leaves.

Throughout this book, I knew about the symphony “ The Healing Heart of the First People of This Land ” and how adamant she was in getting that completed. I already knew the basics of that, but digging into that story and talking to my mom a lot about it and just seeing how dedicated she was, reading the details and of course the documentary “ The Healing Heart of Lushootseed ,” I got to know more intimately what that meant to her. Her ambition, care and compassion. I learned more of the extent and the intensity of her commitment.

Marshall: In the book, your uncle asked the question, what kind of Indian are you? Has any part of your answer changed since writing this book?

LaPointe: No. In fact, that first Salmon Ceremony, it’s one of my favorite essays. It was one of my favorites to write.

There’s so much joy as a Native person and empowerment, this sense of pride in my identity and that took a long time to arrive at. It wasn’t until adulthood. It’s a hard thing to be proud of who you are and also in the face of settler colonial trauma. Being a survivor, sometimes it’s hard to really embrace that part of your identity.

Marshall: You start to find your footing in the punk space. But you know that you had to be punk first, then Native person second and you’ve touched on it. How did you reconcile your identity in the space?

LaPointe: It took a long time, to be honest. There are a lot of incredible things that I experienced, and the punk community was such an important part of my life. I think for any folks who are feeling misfit or a sense of displacement, we seek friends and family, we seek community, and the punk scene provided that for a while. I both love and have a massive critique of it. I think both can exist, but it was really hard.

As I continue to grow as a human and want to have these conversations about Indigenous issues. I over time started discovering that it wasn’t the right space or community to have these conversations.

I started to feel more lonely. I can’t talk to a white anarchist about settler colonial trauma to the extent that they’re really going to get where I’m coming from and see me as a person. I started having these ideas and really wanting to process them and work them out as an artist, a person, a weirdo in the punk scene and realizing there wasn’t a lot of opportunity for connection and to do that.

Going to the Institute of American Indian Arts really opened up my world. I can be in a room with other indigenous artists, writers, poets, painters, filmmakers and I feel less alone. I’m in a space where we can have these conversations back and forth.

I think that making those connections and meeting my Native art community made me realize just how othered and different I felt in some of those spaces.

Marshall: You’re a woman who comes from salmon people and there was even a point where you denied your salmon privilege. What helped to repair that relationship over time?

LaPointe: I really couldn’t shake that memory of my uncle. When he passed I felt an immense amount of grief — our family felt that loss.

I remember sitting in the driveway on that wintry, icy, snowy night and him dropping that massive king salmon in my arms and when I said, “Uncle I’m a vegetarian,” the look on his face. It’s one of those memories that is so concrete and stays with me. What kind of Indian are you? I couldn’t shake it.

That speaks to younger teenage Sasha and wanting to fit into these punk spaces in this community where everyone was vegan and everyone was an animal rights activist. But in doing that, I was denying this very, very deep part of myself.

It’s not simply about food. Food is nurturing, but salmon is a sacred resource. So much of our culture is built around the salmon returning. It’s just such a huge part of my Coast Salish identity that I can’t believe I spent years denying that simply to try to fit in.

When I thought about my uncle asking me that question, I’m like, “Wait a minute. As a Coast Salish woman, I’m not the problem. The overfished oceans are not because of Coast Salish people.” That was a long journey, a long learning lesson, to arrive at this place. “Why are you denying this sacred resource that’s part of your culture?” I will never deny myself salmon again. It is a gift that we have salmon returning that haven’t left us.

Marshall: You wrote “The first time I ever heard the term two-spirit. I felt a sense of relief wash over me.” Why? And where did that shame you felt growing up queer come from?

LaPointe: I want to start by saying two-spirit can mean different things. I know it’s been kind of adopted as this kind of pan-Indian identity, but it means different things depending on the tribe or the community.

The way that it was explained to me, I was young, my mom had just come back from a two-spirit gathering in Montana and she was telling me about it and sharing photos and all of a sudden I felt this massive relief. For me, growing up with a sense of pressure to have to decide: Are you queer? Are you straight? What are your relationships like? There was this shame built up around that.

When my mom approached me with two-spirit, explaining that a two-spirit person can have both a masculine and feminine spirit, all of a sudden, I felt this kind of relief wash over me where I felt understood.

Having partners throughout my life ask: “Are you gay? Are you straight? Are you bisexual?” None of these labels seem to fit. Falling in love with people based on their gender identity has never occurred to me. I felt really conflicted. Certain partners would be angry or confused by my identity as a queer woman and if I didn’t fit into the way that they wanted to see me, or their idea, it was a disappointment or this point of frustration or conflict.

For a long time that really just built up a lot of shame in me. It’s not an easy thing to want to fit into someone’s idea of who they want you to be. The idea of embracing myself instead of these two halves of me. It’s this kind of journey of loving yourself and accepting yourself and really celebrating yourself. As a queer Coast Salish woman, there is nothing wrong with me and I am allowed to embrace all of that and be proud of that.

Blaine Slingerland

Marshall: The relationship between you and your parents, it’s complicated as you describe it, they’re your heroes and you draw strength from them. But then you also see that there are ways where they’re dealing with their own issues. What helped you to understand that duality more over time?

LaPointe: There’s a point in most people’s lives where you realize that your parents are human. For me, it was this moment of incredible compassion and care for them. I think I spent a lot of my teen years being really angry and that wasn’t necessarily fair to them. When you stop and sort of reach this point of adulthood where you see your parents, not as either superheroes or supervillains in your life, you see them as just people who are also struggling. They were young Indigenous parents trying to make it with five kids living in a trailer. I was really angry and had a lot of unresolved anger and frustration towards them. Looking back now having this realization of how hard they were trying to make it work.

Even without having five kids and trying to make it work, it is a difficult thing to navigate this world as Indigenous people. They already had a lot on their plate and realizing that they did the best that they could.

Marshall: There was something in the earlier part of the book, you wrote all these white people on Pinterest are baking loaves of sourdough and I am trying to time travel. On one front it was funny but also a little tricky because that’s your history.

LaPointe: It’s interesting whenever I read that part of the essay the audience laughs. It is kind of sassy but also a very serious thing. That was deeply emotional and sad and lonely feeling. As a descendant of survivors of smallpox, The pandemic hit a little different for me. There was a sense of anxiety and sort of this generational trauma. This fear coded deep in my DNA to feel unsafe. The idea of losing our elders to this illness was terrifying to me.

I’m not gonna lie, the pandemic was hard for all of us. We have this kind of collective trauma in lockdown. It was a really strange and alienating thing for me to see people saying ‘I’m watching Great British Baking and baking tons of cakes. I’m looking around the reservation from my roof, terrified that the elder next door is going to pass. What does that mean for me as a Coast Salish person?

It is strange when people laugh, I’m also not mad at them for laughing, because it is a little snarky, but also it hits on such a deeper fear and a deeper sense of loss and fear of erasure. There is this split. It’s snarky but this is a little serious for me. You’re the only person who’s asked me about it in this way and I deeply appreciate it.

Marshall: You wrote that songs have the power to heal and can be medicine. The book title is Thunder Song. What does the title mean to you?

LaPointe: It comes from the title essay ‘Thunder Song’ which is sort of an homage to my great-grandmother. It’s a kind of a love letter to all that she did in her life and all that she was. Choosing to title the collection after that was important to me because in recognizing that 20 years ago, she had this vision.

She felt called to do this work to commission a symphony because she believed very deeply in our Coast Salish culture and our ways: the fact that our songs are medicine and she wanted to share that. It’s as true as it was 20 years ago as it is today, if not more.

I imagine if my great-grandmother was with us today, looking around the state of the world she would be deeply disturbed and concerned. Her whole goal with that symphony was to remind people to be kind to one another to take care of one another which is a very basic part of our Coast Salish ways of being.

She just wanted to share that. The issues in my book aren’t site-specific. They’re not simply Coast Salish problems. These are problems all over the world. Titling it “Thunder Song” was a way to honor her and to also say the world still needs this medicine.

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Donald Trump and Megan Mullally performing the Green Acres theme song at the Emmy Awards, Los Angeles, September 2005

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In the Warsaw Ghetto in October 1941 Mary Berg, then a teenager, wrote in her diary about the improbable persistence of laughter in that hellish place:

Every day at the Art Café on Leszno Street one can hear songs and satires on the police, the ambulance service, the rickshaws, and even the Gestapo, in a veiled fashion. The typhus epidemic itself is the subject of jokes. It is laughter through tears, but it is laughter. This is our only weapon in the ghetto—our people laugh at death and at the Nazi decrees. Humor is the only thing the Nazis cannot understand.

Berg here movingly expresses a common and comforting idea. Laughter is one of the few weapons that the weak have against the strong. Gallows humor is the one thing that cannot be taken away from those who are about to be hanged, the final death-defying assertion of human dignity and freedom. And the hangmen don’t get the jokes. Fascists don’t understand humor.

There is great consolation in these thoughts. Yet is it really true that fascists don’t get humor? Racist, misogynistic, antisemitic, xenophobic, antidisabled, and antiqueer jokes have always been used to dehumanize those who are being victimized. The ghetto humor that Berg recorded was a way of keeping self-pity at bay. But as Sigmund Freud pointed out, jokes can also be a way of shutting down pity itself by identifying those who are being laughed at as the ones not worthy of it: “A saving in pity is one of the most frequent sources of humorous pleasure.” Humor, as in Berg’s description, may be a way of telling us not to feel sorry for ourselves. But it is more often a way of telling us not to feel sorry for others. It creates an economy of compassion, limiting it to those who are laughing and excluding those who are being laughed at. It makes the polarization of humanity fun.

Around the time that Berg was writing her diary, Theodor Adorno and Max Horkheimer were pointing to the relationship between Nazi rallies and this kind of comedy. The rally, they suggested, was an arena in which a release that was otherwise forbidden was officially permitted:

The anti-Semites gather to celebrate the moment when authority lifts the ban; that moment alone makes them a collective, constituting the community of kindred spirits. Their ranting is organized laughter. The more dreadful the accusations and threats, the greater the fury, the more withering is the scorn. Rage, mockery, and poisoned imitation are fundamentally the same thing.

Donald Trump is not a Nazi, and his followers are (mostly) not fascists. But it is not hard to see how this description resonates with his campaign appearances. Trump is America’s biggest comedian. His badinage is hardly Wildean, but his put-downs, honed to the sharpness of stilettos, are many people’s idea of fun. For them, he makes anger, fear, and resentment entertaining.

For anyone who questions how much talent and charisma this requires, there is a simple answer: Ron DeSantis. Why did DeSantis’s attempt to appeal to Republican voters as a straitlaced version of Trump fall so flat? Because Trumpism without the cruel laughter is nothing. It needs its creator’s fusion of rage, mockery, and poisoned imitation, whether of a reporter with a disability or (in a dumb show that Trump has been playing out in his speeches in recent months) of Joe Biden apparently unable to find his way off a stage. It demands the withering scorn for Sleepy Joe and Crooked Hillary, Crazy Liz and Ron DeSanctimonious, Cryin’ Chuck and Phoney Fani. It requires the lifting of taboos to create a community of kindred spirits. It depends on Trump’s ability to be pitiless in his ridicule of the targets of his contempt while allowing his audience to feel deeply sorry for itself. (If tragedy, as Aristotle claimed, involves terror and pity, Trump’s tragicomedy deals in terror and self-pity.)

Hard as it is to understand, especially for those of us who are too terrified to be amused, Trump’s ranting is organized laughter. To understand his continuing hold over his fans, we have to ask: Why is he funny?

This is not the 1930s or the 1940s, and we should not expect this toxic laughter to be organized quite as it was then. Trump functions in a culture supersaturated with knowingness and irony. In twentieth-century European fascism, the relationship between words and actions was clear: the end point of mockery was annihilation. Now, the joke is “only a joke.” Populist politics exploits the doubleness of comedy—the way that “only a joke” can so easily become “no joke”—to create a relationship of active connivance between the leader and his followers in which everything is permissible because nothing is serious.

This shift has happened in Europe, too. Think of Boris Johnson’s clown act, his deliberately ruffled hair, rumpled clothes, and ludicrous language. Or think of Giorgia Meloni, the first Italian prime minister from the far right since Benito Mussolini, posting on election day in September 2022 a TikTok video of herself holding two large melons ( meloni in Italian) in front of her breasts: fascism as adolescent snigger. It is impossible to think of previous far-right leaders engaging in such public self-mockery. Only in our time is it possible for a politician to create a sense of cultlike authority by using the collusiveness of comedy, the idea that the leader and his followers are united by being in on the joke.

Trump may be a narcissist, but he has a long history of this kind of self-caricature. When he did the Top Ten List on the David Letterman show in 2009, he seemed entirely comfortable delivering with a knowing smirk the top ten “financial tips” written for him, including “When nobody’s watching I go into a 7/11 and stick my head under a soda nozzle”; “Save money by styling your own hair” (pointing to his own improbable coiffure); “Sell North Dakota to the Chinese”; “If all else fails, steal someone’s identity”; and “The fastest way to get rich: marry and divorce me.” This performance, moreover, was the occasion for Trump’s entry into the world of social media. His first ever tweet was: “Be sure to tune in and watch Donald Trump on Late Night with David Letterman as he presents the Top Ten List tonight!”

At the 2005 Emmy Awards, Trump dressed in blue overalls and a straw hat and, brandishing a pitchfork, sang the theme song from the 1960s TV comedy Green Acres . Trump is a terrible singer and a worse actor, but he seemed completely unembarrassed on stage. He understood the joke: that Oliver, the fictional character he was impersonating, is a wealthy Manhattanite who moves to rustic Hooterville to run a farm, following his dream of the simple life—an alternative self that was amusing because it was, for Trump, unimaginable. But he may have sensed that there was also a deep cultural resonance. The Apprentice was “reality TV ,” a form in which the actual and the fictional are completely fused.

Green Acres , scenes from which played on a screen behind Trump as he was singing, pioneered this kind of metatelevision. Its debut episode set it up as a supposed documentary presented by a well-known former newscaster. Its characters regularly broke the fourth wall. When Oliver launched into rhapsodic speeches about American rural values, a fife rendition of “Yankee Doodle” would play on the soundtrack, and the other characters would move around in puzzlement trying to figure out where the musician was. Eva Gabor, playing Oliver’s pampered wife, admits on the show that her only real talent is doing impressions of Zsa Zsa Gabor, the actor’s more famous real-life sister.

The critic Armond White wrote in 1985 that “ Green Acres ’ surreal rationale is to capture the moment American gothic turns American comic.” Trump playing Oliver in 2005 may be the moment American comedy turned gothic again. Whoever had the idea of connecting Trump back to Green Acres clearly understood that “Donald Trump” had by then also become a metatelevision character, a real-life failed businessman who impersonated an ultrasuccessful mogul on The Apprentice . And Trump went along with the conceit because he instinctively understood that self-parody was not a threat to his image—it was his image. This connection to Green Acres was reestablished by Trump himself as president of the United States. In December 2018, as he was about to sign the Farm Bill into law, Trump tweeted, “Farm Bill signing in 15 minutes! #Emmys #TBT,” with a clip of himself in the Green Acres spoof. Hooterville and the White House were as one.

What is new in the development of antidemocratic politics is that Trump brings all this comic doubleness—the confusion of the real and the performative, of character and caricature—to bear on the authoritarian persona of the caudillo, the duce, the strongman savior. The prototype dictators of the far right may have looked absurd to their critics (“Hitler,” wrote Adorno and Horkheimer, “can gesticulate like a clown, Mussolini risk false notes like a provincial tenor”), but within the community of their followers and the shadow community of their intended victims, their histrionics had to be taken entirely seriously. Trump, on the other hand, retains all his self-aware absurdity even while creating a political persona of immense consequence.

This comic-authoritarian politics has some advantages over the older dictatorial style. It allows a threat to democracy to appear as at worst a tasteless prank: in the 2016 presidential campaign even liberal outlets like The New York Times took Hillary Clinton’s e-mails far more seriously than Trump’s open stirring of hatred against Mexicans and Muslims. Funny-autocratic functions better in a society like that of the US, where the boundaries of acceptable insult are still shifting and mainstream hate-mongering still has to be light on its feet. It allows racial insults and brazen lies to be issued, as it were, in inverted commas. If you don’t see those invisible quotation marks, you are not smart enough—or you are too deeply infected by the woke mind virus—to be in on the joke. You are not part of the laughing community. The importance of not being earnest is that it defines the boundaries of the tribe. The earnest are the enemy.

The extreme right in America was very quick to understand the potency of “only a joke” in the Internet age. In a 2001 study of three hate speech websites sympathetic to the Ku Klux Klan, Michael Billig noted that each of them described itself on its home page as a humorous exercise. The largest, called “N…..jokes KKK ” (the ellipsis is mine) carried the disclaimers: “You agree by entering this site, that this type of joke is legal where you live, and you agree that you recognize this site is meant as a joke not to be taken seriously”; “And you agree that this site is a comedy site, not a real racist site”; “We ARE NOT real life racists.”

What does “real life” even mean when Klansmen are not really racist? The power of this “humorous” mode of discourse lies at least partly in the way it blurs the distinctions between the real and the symbolic, and between words and actions. Consider the example of some of the men tried for their alleged parts in a 2020 plot to kidnap Gretchen Whitmer, the Democratic governor of Michigan. One of them, Barry Croft, insisted at his trial in 2022 that he was joking most of the time when he posted on Facebook questions like “Which governor is going to end up being dragged off and hung for treason first?” Another, Brandon Caserta, was acquitted in 2022 in part because he successfully pleaded that violent statements he made on Facebook and in secretly recorded meetings of the group were not serious. These included claims that the Second Amendment sanctions the killing of “agents of the government when they become tyrannical.” “I may kill dozens of agents but eventually die in the process,” Caserta wrote on Facebook in May 2020. He later posted that he would beat government agents so hard they would “beg til they couldn’t beg any more because their mouth is so full of blood.”

At Croft’s trial, his defense attorney put it to an FBI witness that a meme Croft posted showing thirty bullets as “30 votes that count” was “A little tongue-in-cheek? A little bit funny?” On the second season of Jon Ronson’s superb podcast series for the BBC , Things Fell Apart , Caserta acknowledges that, on the secret recordings, he is heard to urge his fellow militia members that any lawyers advocating for the Covid vaccine be decapitated in their own homes, speaks of “wanting Zionist banker blood,” and advocates blowing up buildings where the vaccine is manufactured. He nonetheless insists to Ronson:

This isn’t something I’m dead serious about. This is nothing I ever planned. It’s funny, dude! It’s funny! It’s fun to blow stuff up. It’s fun to shoot guns. It’s fun to say ridiculous offensive shit. And if it offends you, so what? I don’t care about your feelings and how you feel about words. Sorry!

The twist of logic here is striking: Caserta equates blowing stuff up and shooting people with saying ridiculous offensive shit. Violent words and violent actions are all covered by the same disclaimer—one that Trump’s apologists use to blur the relationship between his words and his followers’ actions in the assault on the Capitol on January 6, 2021. In the Trumpian twilight zone where democracy is dying but not yet dead, the connection between words (“fight like hell”) and deeds (the armed invasion of the Capitol) must be both strong and weak, sufficiently “no joke” to be understood by the faithful yet sufficiently “only a joke” to be deniable to the infidels. The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.

For those who love Trump, there is something carnivalesque in all of this. In his discussion of “mediaeval laughter” in Rabelais and His World , Mikhail Bakhtin wrote that “one might say that it builds its own world versus the official world, its own church versus the official church, its own state versus the official state.” Bakhtin suggested that the

festive liberation of laughter…was a temporary suspension of the entire official system with all its prohibitions and hierarchic barriers. For a short time life came out of its usual, legalized and consecrated furrows and entered the sphere of utopian freedom.

Trump and many of his followers have made this quite literal. They create their own America, their own republic, their own notions of legality, their own church of the leader’s cult, their own state versus what they see as the official state. In this way, extreme polarization becomes a sphere of utopian freedom.

This is the capacious zone in which Trump’s comedy operates, an arena that admits everyone who gets the joke, from those who fantasize about killing tyrants, decapitating lawyers, and torturing government agents to those who just like to blow off steam by listening to their hero saying stuff that riles the woke enemy. It is crucial that in Trump’s delivery there is no shift from mockery to seriousness, no line between entertainment and violence. His singsong tone is generous and flexible, serving equally well for vaudeville and vituperation. In his streams of consciousness, they flow together as complementary currents.

In the recent speeches in which he has upped the ante on openly fascist rhetoric by characterizing his opponents as “vermin” and accusing immigrants of “poisoning the blood of our country,” it is notable that his cadence is soft, almost lilting. There is no warning to his audience that these comments are of a different order. They are not even applause lines. By underplaying them, Trump leaves open the fundamental question: Is his mimicking of Hitler’s imagery just another impersonation, all of a piece with the way he does Biden and Haley in funny voices or even with the way he sings the theme song from Green Acres ?

Even when Trump actually goes the whole way and acknowledges that his rhetoric is indeed Hitlerian, as he did in a speech in Iowa after the alarmed reaction of liberals to his previous “poisoning the blood” speech, it is in a passage that jumbles together murderous intent, complaint about the media, and comic acting: “They are destroying the blood of our country. That’s what they’re doing…. They don’t like it when I said that. And I never read Mein Kampf .” But he makes the “Kampf” funny, puckering his lips and elongating the “pf” so it sounds like a rude noise. He continues: “They said ‘Oh, Hitler said that.’” Then he adds his defense: “in a much different way.” It is the stand-up comedian’s credo: it’s not the jokes, it’s the way you tell ’em. And this is, indeed, true—the difference is in the way he tells it, in a voice whose ambiguous pitch has been perfected over many years of performance.

The knowingness is all. In the speech in Conway, South Carolina, on February 10, in which he openly encouraged Russia to attack “delinquent” members of NATO , this startling statement, with potential world-historical consequences, was preceded by Trump’s metatheatrical riff on the idea of “fun.” What was fun, he told his followers, was the reaction he could provoke just by saying “Barack Hussein Obama”:

Every time I say it, anytime I want to have a little fun…even though the country is going to hell, we have to have a little bit of fun…. Remember Rush Limbaugh, he’d go “Barack Hooosaynn Obama”—I wonder what he was getting at.

He then segued into another commentary on his own well-honed send-up of Joe Biden: “I do the imitation where Biden can’t find his way off the stage…. So I do the imitation—is this fun?—I say this guy can’t put two sentences together…and then I go ‘Watch!’” (He said the word with a comic pout.) “I’ll imitate him. I go like this: ‘Haw!’” Trump hunches his shoulders and extends his arm, in a parody of Biden’s gestures. In this burlesque, Trump is not just mimicking his opponent; he is explicitly reenacting his own previous mocking impersonation, complete with commentary. He is simultaneously speaking, acting, and speaking about his acting.

It is within this “fun” frame that Trump proceeded to insinuate that there is something awry with Nikki Haley’s marriage: “Where’s her husband? Oh he’s away…. What happened to her husband? What happened to her husband! Where is he? He’s gone. He knew, he knew.” He and presumably many members of the audience were aware that Michael Haley is currently serving in Djibouti with the South Carolina National Guard. But as part of the show, with the funny voices and the exaggerated gestures, that lurid hint at some mysteriously unmentionable scandal (“He knew, he knew”) is somehow amusing. And then so is Trump’s story about telling an unnamed head of a “big” NATO country that the US would not defend it from invasion and—the punch line—that he would “encourage” Russia “to do whatever the hell they want.” Here Trump is acting in both senses, both ostentatiously performing and exerting a real influence on global politics—but which is which? How can we tell the dancer from the dance?

This shuffling in a typical Trump speech of different levels of seriousness—personal grudges beside grave geopolitics, savage venom mixed with knockabout farce, possible truths rubbing up against outrageous lies—creates a force field of incongruities. Between the looming solidity of Trump’s body and the airy, distracted quality of his words, in which weightless notions fly off before they are fully expressed, he seems at once immovable and in manic flux.

Incongruity has long been seen as one of the conditions of comedy. Francis Hutcheson in Reflections Upon Laughter (1725) noted that it is “this contrast or opposition of ideas of dignity and meanness which is the occasion of laughter.” The supposedly dignified idea of “greatness” is vital to Trump’s presence and rhetoric. But it is inextricably intertwined with the mean, the inconsequential, even the infantile. He is at one moment the grandiose man of destiny and the next a naughty child—an incongruity that can be contained only within an organized laughter in which the juxtaposition of incompatibilities is the essence of fun. This is why Trump’s lapses into pure gibberish—like telling a National Rifle Association gathering in Harrisburg, Pennsylvania, on February 9 that the Democrats are planning to “change the name of Pennsylvania” and that, in relation to the marble columns in the hall, it was “incredible how they could [have been built] years ago without the powerful tractors that you have today”—do not make his fans alarmed about his mental acuity. Cognitive dysfunction is not a worry with a man whose métier is cognitive dissonance.

Part of the dissonance is that Trump’s stand-up routine is completely dependent on the idea that he and his audience most despise: political correctness. Like much of the worst of contemporary comedy, Trump both amuses and thrills his audience by telling them that he is saying what he is not allowed to say. “Beautiful women,” he said at the rally in South Carolina after pointing to a group of female superfans in the audience. “You’re not allowed to say that anymore, but I’ll say it…. That usually is the end of a career, but I’ll say it.” There are so many layers to a moment like this: the idea that the woke mob is stopping manly men from complimenting attractive women, a sideways nod toward the “pussygate” tapes that should have ended Trump’s political career but didn’t, a dig at the Me Too movement, a reiteration of Trump’s right to categorize women as “my type” or “not my type,” the power of the leader to lift prohibitions—not just for himself but, in this carnivalesque arena of utopian freedom, for everyone in the audience.

Flirting with the unsayable has long been part of his shtick. If we go all the way back to May 1992 to watch Trump on Letterman’s show, there is a moment when Trump silently mouths the word “shit.” He does this in a way that must have been practiced rather than spontaneous—it takes some skill to form an unspoken word so clearly for a TV audience that everyone immediately understands it. Letterman plays his straight man: “You ain’t that rich, Don, you can’t come on here and say that.” But of course Trump did not “say” it. A sympathetic audience loves a moment like this because it is invited to do the transgressive part in its head. It gets the pleasure of filling in the blank.

Trump’s audiences, in other words, are not passive. This comedy is a joint enterprise of performer and listener. It gives those listeners the opportunity for consent and collusion. Consider a televised speech Trump gave at the Al Smith Dinner, hosted by the Catholic archbishop of New York, Cardinal Timothy Dolan, in October 2016, near the end of the presidential campaign. The dinner, held to raise money for Catholic charities, is traditionally the last occasion on which the two main presidential candidates share a stage—Hillary Clinton was also present. Trump deadpanned that he knew he would have a receptive audience because “so many of you in the archdiocese already have a place in your heart for a guy who started out as a carpenter working for his father. I was a carpenter working for my father. True.”

What is the joke here? That Trump is like Jesus Christ. Imagine if Clinton had attempted an equivalent gag. There would have been outrage and uproar: Clinton has insulted all Christians by making a blasphemous comparison between herself and the divine Savior. But the cameras cut to Dolan, a sycophantic supporter of Trump, and showed him laughing heartily. And if the cardinal found it funny, it was funny. It was thus an in-joke. If Clinton had made it, it would be the ultimate out-joke, proof of the Democrats’ contempt for people of faith.

But what is allowed as funny will sooner or later be proposed seriously. Many of those attending Trump rallies now wear T-shirts that proclaim “Jesus Is My Savior. Trump Is My President.” Some of them illustrate the slogan with a picture of an ethereal Christ laying both his hands on Trump’s shoulders. What begins as a risqué quip ends up as a religious icon. There is no line here between sacrilege and devotion, transgressive humor and religious veneration.

Just as Trump’s jokes can become literal, his ugly realities can be bathed in the soothing balm of laughter. Long before he ran for president, he was indulged on the late-night talk shows as the hilarious huckster. In 1986 Letterman tried repeatedly to get Trump to tell him how much money he had, and when he continually evaded the question, Letterman broke the tension with the laugh-line, “You act like you’re running for something.” In December 2005 Conan O’Brien asked him, “You also have an online school? Is that correct?” Trump replied, “Trump University—if you want to learn how to get rich.” The audience howled with laughter, presumably not because they thought he was kidding but because the very words “Trump University” are innately absurd. When he did that Top Ten List on Letterman in 2009, Trump’s comic financial advice included “For tip number four, simply send me $29.95.”

But these jokes came true. Trump wouldn’t say how much he was worth because his net worth was partly fictional. Trump did run for something. Trump University was an innately funny idea that people took seriously enough to enable Trump to rip them off. And Trump does want you to send him $29.95—the first thing you get on Trump’s official website is an insistent demand: “Donate Today.” This is the thing about Trump’s form of organized laughter, in which the idea of humor obscures the distinction between outlandish words and real-life actions. Sooner or later, the first becomes the second. The in-joke becomes the killer line.

March 21, 2024

Who Should Regulate Online Speech?

Small Island

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Fintan O’Toole is the Advising Editor at The New York Review and a columnist for The Irish Times. His most recent book, We Don’t Know Ourselves: A Personal History of Modern Ireland , was published in the US last year. (March 2024)

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