Writers in the Storm

By Kris Maze

Writing Young Adult (YA) fiction can be a tricky for writers trying to craft authentic characters. This post examines what makes characters in popular YA novels today resonate with young people. If you are writing or planning to write for teens, this deep dive and multiple post series into YA fiction trends can help you craft your own novel.

Capturing the essence of adolescence to the written page is tough. It has to pass the sniff-test of authenticity for readers of all ages, especially the readers who are teens themselves. Teens who are guaranteed to be your toughest critics and your greatest fans. Writing your novel in a way that isn’t pandering or pontificating is hard, because teens have a very sensitive filter towards adults telling their stories. But having hindsight from our own experiences growing up can make writing a YA novel easier. We’ve lived through adolescence and survived. 

So, where is a good balance between telling the story and filtering it through a teen protagonist’s eyes? How can writers, many of which are no longer teens, make our novels more authentic?

The good news is that we don’t have to be teens to write like one. Let’s see how some popular authors have accomplished effective characterization and worldbuilding in YA novels.

YA Book Study – A Visit to the Library

My research was conducted in a West Coast high school library in the United States. Books used in this YA post series came from titles that students requested to purchase for the library and ultimately checked out to read. The high school population has students from many cultural backgrounds, many with non-English spoken home languages, and a wide spectrum of economic diversity as well.

This sample of readers created a representative cross-section similar to the United States overall. Although popular books will vary in different regions and countries worldwide, this information can provide current insights about general trends in student reading.

In my sample library, the librarian had input from students about which books should be added to the collection each year. This shows that teens are reading books that they wanted to read (see list of novels at the end of this post). The quotes and examples in this post came from these novels. Even though other books are also popular, the criteria and purpose for this list was to get a general range of interest from actual young adults. 

To begin...

I asked the librarian about which books are hot right now. Next, I checked the stacks to see how many copies of the book were in circulation. The other criteria for which books to include were: 

• Books that have a publication date within the last 15 years
• Books that represent a span of genres
• Books that cover various topics of interest to teens today

Later, I pulled together quotes from each and examples on characterization, themes, worldbuilding, and teen voice. Let’s see what these books can show us about YA trends in characterization.

Characterization 

Characters in Young Adult novels have as many variants as there are different walks of life. There are commonalities though, as shown in these characteristics:

1. Emotional Depth. Characters should have layers of emotional vulnerability and growth, making them relatable and engaging.
2. Internal and External Conflict. Compelling characters face both internal struggles (identity, self-worth) and external challenges (society, family, peers).
3. Relatability. Characters who deal with universal themes like belonging, love, fear, and ambition resonate with YA readers, providing connection with others and empathy.
4. Growth. YA characters are most compelling when they undergo significant personal development or transformation throughout the story, reflecting the change-driven nature of adolescence.

Your main character is the pivot point for everything in your YA novel, drawing your readers' attention back to this central focus again and again. Incite your reader’s curiosity by making sure your MC is compelling enough. How do these well-known novels craft best-selling characters? Let’s see in the following examples.

Main Character examples – What makes them compelling?

One of Us is Next, by Karen M. McManus. 

Maeve Rojas is a standout character because she’s smart, resourceful, and unafraid to confront the dark secrets of those around her. YA writers can learn from Maeve’s layered vulnerability: she’s not just the "smart girl," but also someone who struggles with health issues and self-expectations. Her relatability comes from how her internal challenges resonate with readers, making her feel both aspirational and real. When crafting your YA characters, consider how their strengths are balanced by vulnerabilities.

All The Bright Places, by Jennifer Niven. 

Theodore Finch’s character is compelling because of his intensity and emotional depth. He’s constantly torn between his fascination with death and his desire to experience life to the fullest. This tension keeps readers engaged. For YA writers, Finch’s unpredictability highlights the power of creating characters who are complex, with internal contradictions. A character doesn’t need to be perfect—they need to feel real. Consider how your characters’ flaws and inner battles make them more relatable to readers.

I’ll Give You the Sun, by Jandy Nelson. 

Jude and Noah are brilliant examples of how dual narrators with distinct voices can create depth in storytelling. Their journey through jealousy, love, and personal tragedy brings rich emotional texture to their characterization. YA writers can take a cue from the twins' evolving relationship and individual growth and show character development through interactions and internal conflicts. Think about how your characters’ relationships with each other affect their growth throughout the story.

Shadow and Bone, by Leigh Bardugo. 

Alina Starkov begins as an outsider, but her transformation into a powerful Grisha mirrors the adolescent journey of self-discovery. For YA writers, Alina’s arc is a perfect example of the "chosen one" trope done right: it’s not just about her powers, but about her struggle to accept who she is. When building your characters, give them both an external journey and an internal one. As they gain strength or face challenges, let their inner confidence grow as well.

Burning Bright, by Alexa Donne. 

Stella Ainsley is a strong and relatable character because she’s independent, intelligent, and determined to make her own path, despite the challenges of living in a futuristic society. Her self-reliance and resistance to societal expectations make her a great example of a YA heroine who doesn’t conform to traditional gender roles. As YA writers, you can create dynamic characters by giving them clear motivations and the drive to defy the norms of their world.

Don’t Ask Me Where I’m From, by Jennifer De Leon. 

Liliana Cruz’s journey of navigating two different worlds—a predominantly white school and her Latinx roots—creates a tension that many teens can relate to. YA writers should look to Liliana’s struggle with identity as an example of how to weave real-life social challenges into your character arcs. Her resilience and determination make her not only relatable but also inspiring. Consider how cultural and social backgrounds can influence your characters' actions and decisions.

The Last True Poets of the Sea, by Julia Drake.

Violet Larkin’s reckless behavior following her brother’s suicide attempt makes her a raw, emotionally complex character. Her path to healing and uncovering family secrets offers you a template for creating protagonists who are on a journey of self-discovery. Violet’s story demonstrates the importance of giving your characters space to grieve, struggle, and grow. Authentic emotional depth, especially when dealing with difficult themes, is key to creating compelling characters.

Just Listen, by Sarah Dessen. 

Annabel Greene's story is a great example of a character whose outward perfection hides deep internal conflict. YA writers can learn from Annabel’s quiet strength and her gradual journey to reclaim her voice. Characters don’t always need to be loud or overly rebellious to be compelling; sometimes their inner battles and quiet resilience make the most impact. When developing your characters, consider how silence, trauma, and the quest for self-worth can shape their growth.

The Mary Shelley Club, by Goldy Moldavsky. 

Rachel Chavez’s love of horror and her complicated relationship with fear provide a unique twist to her characterization. You can take inspiration from how Rachel’s fascination with dark, frightening things reflects her own inner turmoil. Her journey through trauma shows how characters can use unconventional means to cope with their struggles. Consider how your characters' passions and obsessions can serve as metaphors for their emotional states, making them feel more layered.

Gravity, by Sarah Deming. 

Gravity Delgado is compelling because she’s physically strong, yet emotionally vulnerable, balancing the pressures of boxing with family struggles. For YA writers, Gravity’s character showcases the importance of building resilience and grit into your protagonists while also allowing them moments of doubt. Let your characters face real challenges and setbacks, but also give them the inner strength to keep fighting—whether in the ring or in their personal lives.

A Girl Named Disaster, by Nancy Farmer. 

Nhamo’s journey of survival is more than just a physical struggle, it’s about her connection to her ancestors and finding her own inner strength. You can take cues from Nhamo’s resourcefulness and spiritual journey to create characters who are not just shaped by their circumstances, but by their heritage and internal growth. Consider how your characters’ backgrounds and environments influence their personal development.

Book Examples that enhance characterization

In young adult literature, characters often navigate intense emotions, internal conflicts, and the struggle to define their identity. Each quote below highlights the distinctive voice of teen protagonists, offering relatable and complex portrayals of adolescence. Here’s an analysis of why each quote exemplifies a teen’s internal world, helping you understand how to craft authentic teen characters:

One of Us is Next, by Karen M. McManus

 “It’s like everyone at Bayview High has their own private drama, and we’re all just waiting for our turn in the spotlight.”

Insight: High school often feels like a stage where teens perceive everyone as watching and judging them. This heightened awareness taps into the self-consciousness and social pressure that is central to teenage experiences.

“You know how when something bad happens, and it feels like the whole world is staring at you? That’s how I felt when the rumors started.”

Insight: The fear of gossip and judgment reflects a common teenage anxiety. Rumors and peer scrutiny can amplify feelings of vulnerability, making even small issues seem overwhelming.

“High school is a game of survival, and sometimes you have to play dirty to stay in the game.”

Insight: The competitive social dynamics of adolescence are like an unspoken game where teens must navigate friendships, rivalries, and social hierarchies. This captures the cutthroat nature of these interactions, interactions which in this book series are quite deadly indeed.

All The Bright Places by Jennifer Niven

“It’s like I’m living in a fog, where everything is blurry and nothing feels real.”

Insight: This illustrates the emotional confusion teens may face, particularly when grappling with mental health. The feeling of disconnection from reality mirrors the struggle to understand one's emotions and surroundings.

“Sometimes I just want to scream and let all the noise out, but I don’t even know where to start.”

Insight: Teens often experience overwhelming emotions without knowing how to express them. This raw frustration speaks to the difficulty of articulating feelings during adolescence.

“You can’t just put on a brave face and pretend everything is okay when it’s not.”

Insight: Teens often feel the pressure to appear strong, but this quote reflects the growing recognition that vulnerability is part of being human. It resonates with the internal conflict of wanting to appear invincible while needing to be real.

I’ll Give You the Sun by Jandy Nelson

“We were like two halves of a whole, and when we were together, it felt like we could take on the world.”

Insight: Teenage relationships, particularly with close friends or siblings, can feel all-encompassing. This reflects the emotional intensity and deep connections that many teens experience.

“It’s weird how a single moment can change everything, like a snapshot in time that makes you see things differently.”

Insight: Adolescents often experience sudden shifts in perspective or understanding, making small moments feel transformative. This captures the immediacy and importance of self-discovery.

“I’ve spent so much time trying to fit in, I forgot what it feels like to be myself.”

Insight: The desire to conform is a central theme in adolescence. This quote reflects the struggle between wanting acceptance and staying true to one’s identity.

Shadow and Bone by Leigh Bardugo

“Being different is like walking around with a target on your back, and you never know who’s aiming for you.”

Insight: Teens often feel vulnerable to judgment when they stand out, whether because of appearance, personality, or abilities. This fear of being singled out is common in high school environments.

“Sometimes, the hardest part of being a hero is figuring out who you’re supposed to be.”

Insight: Adolescents often face pressure to live up to expectations, whether external or self-imposed. This reflects the teen struggle to define their identity amidst various influences.

“In a world full of shadows, it’s easy to get lost. But sometimes, you have to be the light to find your way.”

Insight: This metaphor resonates with teens, who often feel overwhelmed by external pressures but must find inner strength to navigate challenges. The journey of self-discovery and resilience is a key part of the teenage experience.

Burning Bright by Alexa Donne

“Living in a floating city feels like being on a permanent vacation, but it’s also kind of lonely up here.”

Insight: Adolescence is often marked by feelings of isolation, even in seemingly ideal environments. This highlights the teen experience of loneliness despite being surrounded by people or opportunities.

“It’s hard to figure out who you are when you’re always surrounded by people who seem to have it all together.”

Insight: Comparing oneself to others is a common teenage struggle. The perception that others are more confident or successful amplifies insecurities and the search for personal identity.

“The future is like a big, scary question mark, and I have no idea how to answer it.”

Insight: Teens frequently face uncertainty about the future, and this anxiety is both exciting and terrifying. The overwhelming possibilities and fear of the unknown are key themes in young adult development.

These quotes and accompanying insights, provide examples of how to create rich, authentic teenage characters. By incorporating their emotional depth, insecurities, and internal conflicts, writers can effectively capture the essence of adolescence in YA storytelling. Each quote reflects the depth, vulnerability, and complexity of the teenage voice, touching on universal adolescent experiences like identity, belonging, emotional confusion, and resilience.

Through the eyes of your MC 

When crafting your own characters ask yourself a few questions. How does your main character fare compared to what teens are reading?

• Who is your main character and why do they appeal to teen readers?
• Why are they compelling? 
• What is their internal and external struggle?
• Is this character the best choice for your story? Could you make changes to bring in more readers?
• What universal adolescent experiences have you addressed in your novel?

Resource List - YA Novels List

These books were chosen based on popularity with students (determined by how often they were checked out and how many copies were in circulation). These titles are all within the YA bounds primarily because of the main character's age, but also for the themes, topics, and other important aspects of compelling Young Adult writing. See the details below for each novel.

Title	author	year pub	genre (ya)
One of Us is Next	Karen M. McManus	2020	MTS
All The Bright Places	Jennifer Niven	2015	contemporary YA
I'll Give You the Sun	Jandy Nelson	2014	contemporary YA
Shadow and Bone	Leigh Bardugo	2012	Fantasy
Burning Bright	Alexa Donne	2018	Sci-fi, gothic mystery, romance
Don't Ask Me Where I'm From	Jennifer De Leon	2020	Contemporary YA
The Last True Poets of the Sea	Julia Drake	2019	Romance
Just Listen	Sarah Dessen	2006	Contemporary YA
The Mary Shelley Club	Goldy Moldavsky	2021	horror, mystery, romance
Gravity	Sarah Deming	2019	sports novel, contemporary
A Girl Named Disaster	Nancy Farmer	1996	coming-of-age, survival fiction
The Knife of Never Letting Go	Patrick Ness	2008	Sci-fi

Final Thoughts on Characters in YA Novels

At the end of the day, writing for teens is like walking a tightrope as part of a circus—wobbly, slightly terrifying, but wildly exhilarating when you nail it. They want authenticity in their novels, but not too much. Drama, but not overdone (well, maybe a little). 

Let’s face it, the inexperienced teen years in real life are basically a series of plot twists no one saw coming. So, embrace the chaos in your writing, throw in some deep feelings, sprinkle in a little humor, and let your characters find their way. Just remember, teens are experts at sniffing out inauthenticity. Keep it real, keep it relatable, and don’t forget to add a dash of humor to lighten the angst. After all, if teens can survive high school, they can definitely survive whatever drama you build into your novel. Have fun with it!

What current trend do you notice in books you like to read? What tips do you have for our readers?

About Kris

Kris Maze is an author, writing coach, and teacher. She has worked in education for many years and writes for various publications, including Practical Advice for Teachers of Heritage Learners of Spanish and the award-winning blog Writers in the Stormwhere she is also a host. You can find her horror stories and young adult writing on her website. Keep up with future projects and events by subscribing to her newsletter.

Find her newest story collection HERE on sale!

A recovering grammarian and hopeless wanderer, Kris enjoys reading, playing violin and piano, and spending time outdoors.

And occasionally, she enjoys getting a chai tea while writing in a local coffee shop.

by Ellen Buikema

Initially, I found it difficult to sit and listen to other people discuss my work—my book-baby—without immediately defending myself. There were times when I’d sit on my hands to remind myself to be patient and wait my turn. I also needed to develop a thicker skin. I’m much better about all this now but I occasionally still feel the need to interrupt someone’s critique of my work. The struggle is real.

Experience is the best teacher.

Think about how you can best contribute to the growth of others.

Be kind.

“As for literary criticism in general: I have long felt that any reviewer who expresses rage and loathing for a novel or a play or a poem is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae or a banana split.”

—Kurt Vonnegut

Few things bruise a writer faster than a harsh critique. Brutality and honesty are not the same thing. Critique partners must be able to hand out hard truths without being too soft and without being mean.

People who tend to be on the rude side can be good writers with valuable insights. However, when those folks express helpful insights in a snarky manner, the person on the receiving end won’t listen. For people to take in what you say, they must feel that the critique partner has their best interest in mind. A harsh critique doesn’t help, and can actually stunt a writer’s growth. Be kind.

Be honest and constructive.

Attend the critique with the goal of helping your fellow writers improve. Always criticize with good intentions. This does not mean being so nice that you don’t remark on anything, smile, and say it’s all great. Give your best suggestions, but don’t browbeat.

Refusing to give usable criticism does the writer a disservice. Be honest. It can be difficult to hear truths delivered by critique partners. But, the suggestions of those who hone their criticism with an interest in helping you write your best work are golden.

Always go at the task of criticism with a desire to be helpful. That way, your suggestions will be constructive regardless of your experience critiquing other’s work.

Be Brave.

Every writer likes to be to know what they’ve done well, especially by those who are not friends or family. But heaps of praise don’t help the writer in the long run. Writers need commentary on the work. For instance:

• “The chapter was great, but I’d like to see more dialogue sprinkled in with the prose.”
• “I really like the way you introduce your characters. I can see them clearly, but I don’t know what the scene looks like. Can you give some more visuals?”

Some critics may worry that their criticism might be too hard to take, but it’s all in the delivery. Listening to constructive criticism is the way writers develop a thicker “emotional” skin.

Writing is art.

When we critique, we need to remember that writing is an artform. Everyone is going to see different things in a work of art. Not all those opinions are going to be positive. A good critique group is a safe environment for discovering problem areas in our work.

Even highly acclaimed writers need critique. None of those books lining library shelves were perfect to start. Writing is a personal act for public consumption. Before it’s ready for that public it needs polishing, which takes many, many eyes-on.

Constructive criticism is honest criticism. If a work is so clean and crisp that there’s only a few grammatical issues, tell the writer that. Let them know how awesome the work is. Most of us need to hear when we’ve done well. Point out the positive first, that way the writer you are critiquing will be more receptive to your other suggestions. And remember to state that those are suggestions. No one must agree to all the critiques that are offered. Not all advice given in critique is useful.

A few helpful points to critique.

Passive voice. If the object of a sentence is used as the subject of the sentence, that’s passive voice. “The goal was made by Alice.” Instead, use an active sentence. “Alice made the goal.”

The following are suggestions you can offer a writer when you notice too much passive writing.

• Will active or passive voice make the sentence more engaging?
• Is the sentence clear?
• Suggest rewriting with as few "to be" verbs as possible and use active verbs.

Overly used words. In some cases, words are repetitive and a good thesaurus can be your friend. Other times, there are too many instances of words like “it,” “here,” and “there.”

The word “it” was once one of my favorites until it (OOPS) was nearly drummed out of my writing habits. The question I frequently received from a fellow critique group partner was, “What are you talking about? What is it?”

Example:

• Me: “It makes me mad.”
• Partner: “What makes you mad?”
• Me: “Willful ignorance.”
• Partner: “Substitute those words for it and see how much clearer the sentence is.”
• Me: “Willful ignorance makes me mad.”

For more information. Lori Freeland has a fantastic list of things to look for when critiquing other people’s work. The list is also helpful for editing your own work!

Final thoughts.

Keep in mind that we are all in this together. It takes a village to raise a book-baby.

The first time I walked into a room and sat down with a group of people I didn’t know to share the very first chapter of my first manuscript, I was terrified. Thankfully, they were thoughtful and kind. That first draft was terrible. However, the takeaway from my first critique group experience was positive, so I kept attending.

Be constructive, brave, kind, and that will come back to you more often than not. Happy writing!

Do you have a critique partner or belong to a critique group? How did you find your partner/group? What are your experiences with critique?

* * * * * *

About Ellen

Author, speaker, and former teacher, Ellen L. Buikema has written non-fiction for parents, and The Adventures of Charlie Chameleon chapter book series with stories encouraging the development of empathy—sprinkling humor wherever possible. Her Works in Progress are The Hobo Code, YA historical fiction and The Crystal Key, MG Magical Realism/ Sci-Fi, a glaze of time travel.

Find her at https://ellenbuikema.com or on Amazon.

Top Image by StartupStockPhotos from Pixabay

By Lynette M. Burrows

Writers are told to use the five senses to create vivid scenes. But without further information, they struggle to follow that advice. Their use of the five senses is often basic. But our senses are complex, with many descriptive components for each. With judicious use, these descriptive components can immerse the reader in the world and characters you created. 

Let’s take the senses one at a time and get some ideas on how to train yourself to use your five senses to their fullest.

Take Advantage of Your Assets

What are your assets? Most people think their assets are their talent and their experiences. But there’s more. Your thoughts, emotions, your energy and your inborn senses are an author’s most important assets. But learning to use those things in a story isn’t always easy. How can you use them better? Train yourself to be aware of the world around you as it really is. Learn to truly see, to listen intently, to experience touch, identify smell and taste in all their complexities.

Training

Train yourselves to understand the complexities of our perceptions of sensory input, seek experts who can help you, understanding the complexities of our perceptions of things we sense, and to choose to make some of your sensory details layered and specific to immerse your readers in your story world..

There may be people near you who have extraordinary senses. For example, miners spend their day in the dark underground caves, but when they emerge, they have a keen sense of color and sound. Artists not only see colors as varied and layered, they notice how shadow and light affect what our eyes perceive. Bird watchers can identify the unique qualities of each species’ song. Naturalists know which animals live in which environments, and psychologists and criminologist know that certain human behaviors result in certain events. 

Understand the complexities of our senses. Remember, your character’s physical and emotional health affects what they sense and how intensely they feel that. Core beliefs, experiences, and our environment are key to figuring out how your characters experience the world. 

Use the complexity of our senses in your stories. Sprinkle in sensory descriptions that are layered and specific by using a mix of the items listed below.

The Sense of Sight

Color:

Use the full-spectrum of colors both natural and man-made .

Shapes:

There are some shapes that are in nature and some shapes that are man-made.

Motion:

We can perceive motion with our eyes, such as a stalking panther, a fly buzzing around a room, or a leaf that flutters in the wind. 

Patterns:

Look for patterns around you. Find both natural, like zebra or tiger stripes and man-made patterns, like how neighborhood houses all look the same.

Brightness:

Include the differences between bright sunny day, the glare of a spotlight, and the glow of the moon in your writing.

Light and Shadow:

Shadows change with movement, outside vs inside, evoke emotion and mood. Our personal experiences, our gender, or the expectations we have influence our perceptions of shadows. 

Depth:

When we experience depth, we are perceiving the distance between two objects. 

Contrast:

The difference between light and dark or colors he sees can reveal things about your characters.

Clarity:

The acuity and detail of what our characters see. Not all characters will have 20/20 vision.

Size:

We make judgments of how big or small an object is by sight alone. The reality can sometimes surprise us.

Visual Texture:

Science has determined there’s no difference between visual and touch perceptions of rough or coarse objects, but touch is superior to vision for finer surface textures. So go ahead. Have your characters recognize textures.

Facial Expressions:

Learn about micro expressions. Use them to deepen the connection your characters have. 

Reflections:

Yes, people overuse this one, but reflections often draw our attention in real life. Have a specific reason (other than description) for using reflections.

Distance:

This one most of us are familiar with. We judgement of how far or close something is based on sight.

Visual Illusions:

Illusions are images that differ from reality. They can occur in various states of physical and emotional health and in certain environmental conditions (think beyond desert illusions).

The Sense of Smell

We take our sense of smell for granted. It’s not like we can turn our sense of smell off and on. But we often ignore input from our noses. Remember to have your character experience the world through their nose.

Floral:

These scents range from light to heavy, from pleasant to unpleasant. Think about which scents your character knows and ones she doesn't know.

Fruity:

There are fruity scents that are pleasing and ones that are overpowering and some are unpleasant. 

Spicy:

Keep in mind that your character’s cultural foods and past experiences will influence what smells spicy.

Earthy:

This is more than the scent of freshly turned soil or rain on dry ground. Think about what smells earthy to you.

Sweet:

Candy isn’t the only thing that smells sweet. 

Savory:

Savory smells are rich and complex. This scent includes things like roasted meat or simmering soup.

Woody:

This includes the scent of cedar trees, a pine forest, or freshly sawn wood. 

Herbaceous:

Things like basil, mint, rosemary have an herbaceous aroma.

Burnt:

Different substances have specific odors when they are burnt. It's okay to start with an awareness of that burnt smell but be specific when it's pertinent to your character or story.

Musty:

Damp and earthy are often used to describe a musty odor. You don’t have to describe it. You can inject a memory, a simile, or a metaphor to make your description specific.

Clean:

We all know what this smells like, but it’s not the same for all of us. How is it unique to your character?

Chemical:

There is a wide variety of chemical smells. Some are organic, many are man-made. 

Metallic:

Each metal has a distinct smell. Think about the differences between iron and aluminum and copper.

Oceanic:

The ocean air is not always salty, briny, or fishy. Check your assumptions and find out what conditions exist to create those odors.

Personal:

We each have a unique scent. It’s based on the soaps and perfumes we use, but it’s also based on our personal chemistry, what we’ve eaten, and how often we wash our clothes and our bodies, and what soaps and perfumes we use.

The Sense of Hearing

Sounds are all around us all day, every day. But there are unique groupings of sound. 

Music:

Melodies, harmonies, instrumental, and musical genres have unique sounds. Remember, the music your character hears doesn’t need to be instrumental or vocal.

Voices:

Timber, inflection, pitch, quality, volume and rate of speech can be helpful in reducing a sing-song he said-she said.

Nature Sounds:

There are sounds of nature even in cities, but they differ from the sounds on a farm or in a jungle. 

City Noises:

There are tons of city noises. Consider the hum of traffic, the chatter of crowds, the thundering footsteps of people moving, the sounds of machinery. Some cities have a sound unique to that location. 

Animal Calls:

Use more than the birdsong or the howl of a lone wolf. Research animals native and invasive to the location of your story (or create them).

Footsteps:

Think about the surface walked upon, the type of footwear, the speed, rhythm, and weight of footsteps. 

Mechanical and Electronic Sounds:

These sounds depend upon locations and level of technology and the materials used to make the mechanical devices. 

Water Sounds:

Think about all the sources of water around your characters and what sorts of water sounds those things might make. 

Impact Sounds:

These sounds can come from multiple sources at different loudnesses and pitch. They include things like the sigh or slam of a door or glass breaking or a ball bouncing, an open-hand slap.

Wind:

The location of your scene, the weather, a fan, an open window or a vent all could mean your character hears a wind sound. Consider how loud or soft it is. Is it sustained or sporatic?

Silence:

Total silence is rare, but depending upon your character’s location, experience and expectations, silence can be disorienting. In silence, your characters will automatically strain to hear something. They might hear their own heart beat, oceanic-like sounds, or imagined sounds. 

Ambient Sounds:

Think about what sorts of background noises surround your character. These will change if your character changes location.

Speech Patterns:

Accents tones, inflection rhythm, and word choices are part of what makes your characters’ voices different from one another.

Animals Sounds:

The animal sounds your character notices and their reaction to those noises can be key to your reader connecting with your character.

The Sense of Taste

Taste is one of the most underutilized senses in stories. What we can taste depends on our physical makeup and our experiences. Taste isn't limited to the places on your tongue (in the illustration above.) Remember, taste doesn’t just come from food and drink. Certain smells can have tastes as well.

Sweet:

Fruits or candy or sweetbreads

Salty:

Remember many things beyond the ocean’s breeze and potato chips can taste salty including some minerals.

Bitter:

Some people enjoy the taste of bitter things. Some people definitely do not. There are some people who cannot taste bitter things and certain medications create a constant bitter taste.

Umami:

This is the savory flavor of soy sauce, or mushrooms or aged cheese.

Spicy:

We often describe the heat from chili peppers, hot sauce or spicy foods spicy Indian foods as spicy. Is your character accustom to high heat foods or do they cause pain and profuse sweating?

Savory:

This is a dish taste similar to roasted meats, broth, some cheeses, or certain breads.

Sweet and Sour:

This exists in more than just the sauce. How well does your character discern the difference between sweet and sour? 

Earthy:

Root vegetables and certain mushrooms have an earthy taste. To me, Brazil nuts have an earthy taste. Maybe your character considers a food to have an earthy taste that isn’t usually described that way.

Creamy:

This is the smooth, rich taste of cream or cheese or yogurt.

Tangy:

Consider the sharpness of food like yogurt or certain dressings, sauces, or fruits.

Complex Flavors:

Complex flavors usually include multiple foods or spices, such as beef stew or sauced dishes and certain wines.

Herbal:

These are often subtle flavors herbal like basil or thyme.

Fruity:

Think of all the fruit flavors, certain wines or sauces or marmalades.

Nutty:

Be specific. Not all nuts or nut butters taste the same. 

The Sense of Touch

Our sense of touch is as complex as any of our other senses. 

Texture:

The range of textures in our daily lives runs from rough versus smooth, coarse versus fine, and everything in between. 

Temperature:

• Temperature perceptions can be quite complex. We can experience temperature with our skin, by our fingers, and in our mouths. Extreme temperatures can affect our vital organs. 
• Temperature Gradient: Most indoor and outdoor locations have temperature gradients. These are the places where the temperature change is gradual or only slight. 
• Temperature Changes: This references those quick temperature changes, such as walking out of the blazing sun into an air-conditioned space.

Pressure:

Touch often includes sensations of pressure from gentle and soft, to bear hugs, to painful crushing pressure.

Pain:

The variety of ways we can express pain is nearly endless. Explore the world of descriptions like sharp, dull, cramps, achy, needle-like, and chronic pain. (No, I’m not saying experience the pain. I’m saying read about it)

Vibrations:

From earthquakes to wind, to a heavy bas beat, many things can cause vibrations your characters experience.

Softness:

Think of plush fabrics, silk, or the softness of a mattress, or a mat on the gymnasium floor.

Firmness:

Consider more than how firm a mattress is. Notice the firmness of wood versus concrete, muddy earth versus solid rock, and so on.

Moisture:

This can range from the damp of high humidity to the dryness of a desert or a fire to an immersion in water. 

Movement:

his seems self-explanatory, but it is not about moving your body. Remember the feel of movement when someone or something approaches and the feel of mechanical or assisted movement versus the feel of your own movement. 

Ticklishness:

Not everyone is ticklish and those who are may not experience being tickled as a fun or positive thing.

Weight:

This is another one that seems self-explanatory, but there is more to it than how much something weighs. Include the sense of how difficult or easy lifting it is and the feel when something is heavier or lighter than expected.Elasticity: For this, think about how rubber bands are very stretchy, but iron is pretty rigid and inflexible. 

Consistency:

This can be a very subtle part of touch. Consider things like how the feel of a creamy lotion differs from the grittiness of sand. 

Kinesthesis and Proprioception

No, kinesthesis and proprioception are not technically senses, but they are sensations we perceive in relation to our own bodies. 

• Proprioception is the awareness we have of the location and position of our body parts without looking. This awareness allows us to stand, walk, sit, touch and picking up objects. 
• Kinesthesis is an awareness of the position of our body parts in movement without visual aid.

Link Sensory Details

People don’t experience sight, smell, taste, touch, or sound in isolation. We experience our senses linked to each other and linked to our memories and experiences. Link specific sensory details with your character’s emotional reactions or memories and you have a greater chance of engaging your readers.

Brain science has shown that when a reader is engaged in a story, their brain processes the story as if they were experiencing the story in real life. Help them experience your story with layers of sensory details.

Ways to Train Your Senses

With a little thought, you can train your writer's brain to be more aware of the sensory details of your story.

Experience is the most impactful way to train your senses. There are many places one can find sensory experiences. Watch documentaries, go to the zoo, a botanical garden, audit a university or community college class. 

For my Fellowship Dystopia series, I visited the local railroad terminal and spent hours inside a limestone cave. The locations near you may not be exactly the same as the place you are writing about, but you can use elements that are the same.

Most people love to talk about themselves and their work. Find experts in your area or even online. Be upfront and honest about why you want to interview them. Have a set of general and specific questions to ask. Often you’ll get your most interesting details from open-ended questions. 

Collect descriptions you admire. Go through your favorite reads and find those phrases that rang true to you. Create a file to keep those phrases and descriptions. Set up a system so you can refer back to these examples.

This is not to encourage you to use those exact words in your own fiction, but to be a source of inspiration.

Need help to get started? Check out the examples in these WITS posts by Ellen Buikema: Sight, Smell, Sound, Touch, and Taste. Many of Margie Lawson’s posts also include stellar examples of sensory details. Check out her post on “What’s the Visual?” 

Things to Avoid

Generic Details

Non-specific details paint only a vague image in your reader’s imagination. It may be necessary to use generic descriptions for pacing or other story reasons, but without sprinkling very specific details throughout your story, your reader is less likely to feel that real life connection.

Clichès

The lone wolf howling or the train whistling in the distance are clichès. They are tired and unmemorable. If you must use a clichè, twist it with an unexpected element. 

Over-description

Too many details slow the pace of your story and overwhelm your reader. Save detailed descriptions for those times in the story where noticing those details is important to the character, plot, or situation. Also, stick to the kinds of things that would be natural for your character to notice as they relate to their circumstances.

Delete Telling Words

Telling words like he smelled, she felt, and they saw are too generic and create distance between your reader and the story. 

Too Many Adverbs or Adjectives

Verbs are stronger than adverbs. Specific nouns are stronger than adjectives. Both adverbs and adjectives are sometimes necessary in your writing, but during your editing phase, look to delete as many of them as possible. 

Sticking to the Literal

A literal description of something can be effective, but not if all the descriptions are literal. Effective similes and metaphors scattered throughout your descriptions will ring true-to-life with your reader. 

Details in the Wrong Place

In the wrong place, even stellar details can bother the reader. In times of high stress, our vision tunnels in on the object, creating that stress. If your character sees things that aren’t related, you may confuse your reader.

Favor One or Two of the Senses

We all have habits when we write. If you think you’ve avoided a specific sense or you don’t know how much sensory detail you use, try highlighting the sensory words in your manuscript. Using a specific color for each sense will help you see patterns and absences. Then, go back through your manuscript looking for opportunities to add those other senses in.

Practice, Practice, Practice

None of us are experts at all aspects of this craft we love. Not only that, but every project offers unique challenges. Read. Read outside of your genre and in your genre. Read best-sellers and books languishing on the shelf. With increased awareness and practice, we can create vivid worlds and characters that live in the hearts and minds of our readers.

Let's help one another. Please share examples of stellar sensory details from your own or other author’s stories. 

About Lynette

Lynette M. Burrows is an author, blogger, creativity advocate, and Yorkie wrangler. She survived moving seventeen times between kindergarten and her high school graduation. This alone makes her uniquely qualified to write an adventure or two.

Her Fellowship series is a “chillingly realistic” dystopian alternate history. The story follows Miranda, one of the elite who dared to break the rules but in 1961 Fellowship America following the rules isn’t optional. Even the elite can be judged an unbeliever and hunted by the Angels of Death. Books one and two, My Soul to Keep, and  If I Should Die, are available everywhere books are sold online. Book three, And When I Wake, is scheduled to be published in late 2024.

Lynette lives in the land of OZ. She is a certifiable chocoholic and coffee lover. When she’s not blogging or writing or researching her next book, she avoids housework and plays with her two Yorkshire terriers. You can find Lynette online on Facebook or on her website.

Image Credits:

All images within the post were purchased from depositphoto.com. The photo of Lynette is a self-portrait.