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anxiety - quotes and descriptions to inspire creative writing

• a panic attack
• difficult emotions
• fear of loss
• negative emotions
• negotiations
• Nervous or Anxious
• therapy dogs
• troubled times
• troubled youth
• true emotions

Fear of abandonment became you core belief because of events outside of your control when you were just a child. There are ways to fix and counter that, ways to teach you how to have healthy anxiety-free relationships. You have great core values. You believe in good things and you have a hero heart, get well and come join our team, little one, we need good people such as yourself.

Robert smiled, "That inner critic is a bit loud today, huh? It wants to save you from making mistakes but it's creating anxiety, doubt and misplaced shame. I think you need a dose of self compassion. Be as sweet to yourself as you are to others. Being kind should radiate inwards as-well as into the world beyond."

When his anxiety peaked he did the 333. Name three things you can see, three sounds you can hear and three parts of your body. It worked. It was so simple but in that 333 he broke the spiral and felt so much more calm.

"Honey, we all mess up. Once in a while we mess up real bad. Then we learn from that mistake, we make amends if that's required, we move on to become a better person. Literally everyone makes mistakes and if we didn't we wouldn't learn much. So be kinder to yourself, okay? This anxiety, this fear of mistakes, it's holding you back from your greatness and I wanna find out how amazing you can be. I hope you do too."

Create a photo album in your imagination. Only add your favourite feel-good moments, and when anxiety next comes, let the pictures transport your soul into those times.

When you imagine a good memory the nervous system is calmed, feel good brain chemicals are released, you do yourself positive good, you start to make you own natural medicine for anxiety. In time, you begin to be able to manage your emotions better and then to help others manage theirs. Whereas you were once lost in a storm, you become a lighthouse, shining out to sea.

When anxious I vent with a person who loves me, one who has real wisdom and life experience to offer, one who is the calm and not the storm.

If you ignore the anxious thoughts as if they were some distant radio and get on with doing things that are right for you, in time they lessen and disappear.

If anxiety runs my imagination motor, the fear centre of my brain gets more interconnected, more adrenaline and cortisol flood me. Yet when I use my imagination for hope, for gratitude, for writing lyrics or stories... it gets less. When I run or ride my bike, it gets less. There is no magic wand for this, only good choices applied daily and time. That's all.

Imagination uses the same part of my brain as anxiety, and so the more imaginative I am, the less anxious I feel. Thus creative writing is both a way of finding solutions and my rest, my medication, my refuge.

Anxiety thoughts are akin to driving around the block over and over, faster and faster. It's pointless. Stop. Let your thoughts be as a car on a good road, taking the hills and valleys just the same, heading into the far horizon your passions call you toward. You owe it to yourself to take control of the wheel.

I am worthy of escaping this hurricane of thoughts, the positive and the negative analysis of the actions and words of others. I am worthy of love and a better life, I am. So instead of wondering why "they" said it or did it, I simply say, "This situation isn't working for me and I have the right to seek something that does, some place I feel loved, welcome and appreciated." And so I make my escape plan through the paths of musical lyrics and stories of adventure, through the green leaves and under open skies.

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How to Describe Nervousness in Writing (23 Tips + Examples)

How do you move beyond simple statements like “She was nervous” to create a vivid, believable depiction of anxiety?

Here is how to describe nervousness in writing:

Describe nervousness in writing by using vivid language and sensory details. Show physical symptoms like shaking hands or quick breathing. Use dialogue tags such as “stammered,” internal dialogue, and pacing to build tension. Use words like “jittery” or “heart pounding” to deepen emotional impact.

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

23 Best Tips for Describing Nervousness in Writing

Table of Contents

In this section, you’ll find 23 tips and techniques, complete with examples, that will guide you in portraying nervousness with nuance and depth.

Read all the way through and then pick the tips that speak to you the most.

1) Demonstrate, Don’t Describe

One of the cardinal rules of effective writing is to show rather than tell.

Instead of merely stating that a character is nervous, portray their anxiety through actions or implications.

This strategy draws the reader into the experience, making it more relatable and impactful.

Example : Instead of writing “John was nervous about the interview,” you could say, “John’s hands trembled as he straightened his tie one last time before stepping into the interview room.”

2) Use Body Language

Body language can be an incredible tool for conveying a character’s nervousness.

The slight tremble in the hands, fidgeting feet, or erratic movement can speak volumes.

In focusing on body language, you give your reader visual cues to better understand the character’s state of mind.

Example : Rather than simply stating “Emily was nervous before her speech,” describe how “Emily kept shifting from one foot to another, her fingers incessantly twirling a strand of hair.”

3) Incorporate Inner Monologue

A character’s inner thoughts offer an unfiltered glimpse into their emotional state.

For nervousness, consider incorporating internal monologue that captures the essence of the character’s fears or concerns.

This internal conversation can range from panicked thoughts to rationalizing statements.

Example : Instead of writing, “Sarah was nervous about the test,” you could write, “‘You can do this, you’ve prepared,’ Sarah thought, attempting to drown out the rising tide of panic that whispered, ‘But what if you fail?’”

4) Employ Facial Expressions

Facial expressions are highly expressive indicators of emotion.

A clenched jaw, furrowed brows, or widened eyes can all be signs of nervousness.

Including these details enriches the imagery and allows the reader to visualize the emotion vividly.

Example : Instead of saying, “Mark was nervous about the confrontation,” you could describe how “Mark’s eyes darted around the room, avoiding eye contact, his lips pinched in a tight line.”

5) Manipulate Pace and Sentence Structure

The pacing of your sentences can mirror the character’s emotional tempo.

Short, choppy sentences can create a feeling of urgency or disquiet, while long, winding sentences may denote an overwrought mind that’s spiraling out of control.

Example : Instead of “Lisa was anxious,” you might write, “Lisa’s thoughts tumbled over each other, a jumbled mess of ‘what-ifs’ and ‘if-onlys,’ her heart pounding as if keeping time with her spiraling anxiety.”

6) Use Metaphors and Similes

Metaphors and similes can also be instrumental in conveying nervousness.

By comparing the emotion or associated bodily sensations to something else, you can evoke a particular feeling or image in the reader’s mind.

Example : You could write, “His nervousness was like a swarm of bees, buzzing uncontrollably in the pit of his stomach,” to imply a sense of chaotic energy and discomfort.

7) Utilize Dialogue and Tone

Dialogue can also be a potent tool for conveying nervousness.

The words a character chooses, their tone, or even the pauses and stutters in their speech can all reveal underlying anxiety.

Through dialogue, you can show a character’s struggle to articulate their thoughts, their tendency to ramble, or their use of filler words—all indicative of nervousness.

Example : Instead of writing, “Tina was nervous about the question,” you could show her hesitation in dialogue: “‘Well, you see, um, it’s a bit complicated, isn’t it?’ Tina’s voice wavered, each word tinged with a nervous lilt that betrayed her composure.”

8) Leverage Environmental Interaction

How a character interacts with their environment can be another window into their emotional state.

Someone who is nervous might fiddle with objects, look away into the distance, or keep glancing at the door.

These interactions serve as nonverbal cues to the reader, adding an extra layer of context to the emotional landscape of the story.

Example : Instead of saying, “Paul was nervous,” you could describe how he interacts with his surroundings: “Paul kept glancing at his watch, then at the door, his fingers drumming an impatient rhythm on the tabletop. Every creak of the floorboards made him start, his eyes darting towards the source of the sound.”

9) Use Sensory Descriptions

Incorporating sensory descriptions can deeply immerse your reader into the character’s emotional state.

Describe how nervousness feels, tastes, sounds, smells, or even looks from the character’s perspective.

Does their mouth go dry? Is there a pit in their stomach?

Sensory details add a tangible quality to emotions, making them feel real to the reader.

Example : Rather than saying, “Raj was anxious,” you could provide sensory details: “A sour taste filled Raj’s mouth, his tongue thick and clumsy as if coated in cotton. His skin tingled with the static of his nerves, every sound magnified to a grating roar.”

10) Incorporate Thought-Action Sequences

When nervous, people often go through a rapid series of thoughts and actions.

Incorporating these thought-action sequences can add a realistic dimension to your depiction of nervousness.

Describe what the character thinks and then immediately show how that thought translates into action or inaction.

Example : Instead of saying, “Lisa felt nervous,” you could write: “‘I can’t mess this up,’ Lisa thought. Almost robotically, she reached for her notes, skimmed through them one last time, and adjusted the microphone. Her hands quivered just enough to remind her of her fragility.”

11) Use Repetitive Actions or Tics

People often exhibit repetitive behaviors or tics when they are nervous.

This could be tapping a foot, scratching an itch that isn’t there, or even humming a tune unconsciously.

These actions can become a character’s signature way of displaying nervousness, aiding in building a more rounded, believable individual.

Example : Instead of saying, “Nina was nervous,” you might write: “Nina kept pulling at the hem of her dress, stretching the fabric until it snapped back into place. It was a nervous tic she had developed as a child and it resurfaced now, a telltale sign of her inner turmoil.”

12) Play with Syntax and Grammar

Unconventional sentence structure can sometimes effectively convey a character’s nervous state.

Fragmented sentences, run-ons, or even abrupt syntactical breaks can make the reader feel the disjointedness or racing thoughts that come with nervousness.

Example : Instead of saying, “Harry was nervous,” you could experiment with sentence structure: “Harry couldn’t sit still. Couldn’t breathe normally. Everything a jumble. Thoughts. Emotions. A cacophony. He was unraveling.”

13) Utilize Flashbacks or Imagery

Sometimes the source of a character’s nervousness is a past event or a vivid imagination projecting worst-case scenarios.

You can employ flashbacks or internal imagery to convey this deeper layer of emotion.

It provides context and depth, making the emotion multidimensional.

Example : Rather than writing, “Martha was nervous,” you could incorporate a flashback: “As Martha waited for her name to be called, a vivid memory flashed before her eyes—the last time she had stood on a similar stage, forgetting all her lines. Her stomach knotted at the thought.”

14) Exaggerate for Effect (Hyperbole)

Sometimes a little exaggeration can drive the point home effectively.

Hyperbole allows you to amplify a character’s emotional state for greater impact.

While you should use this sparingly, an exaggerated description at the right moment can offer an intense snapshot of a character’s feelings.

Example : Instead of simply saying, “Clara was nervous,” you could exaggerate: “Clara felt like her heart was about to burst through her chest and make a run for it, leaving her behind to face the crowd.”

15) Punctuate with Silence

The absence of sound or action can be as powerful as its presence.

Moments of silence, hesitation, or stillness can accentuate a character’s nervousness and build tension.

Readers naturally fill silence with their own anticipation, adding to the emotional depth of a scene.

Example : Instead of saying, “Jim felt nervous,” you could write: “Jim opened his mouth to speak, but words escaped him. An uncomfortable silence filled the room, every tick of the clock amplifying his growing sense of dread.”

16) Use Dialogue Tags and Modifiers

While it’s generally better to show emotion through action and dialogue, sometimes a well-placed tag or modifier can be effective.

Words like “stammered,” “muttered,” or “whispered” can add nuance to speech, indicating a character’s emotional state.

Example : Instead of saying, “Maria was nervous,” consider: “‘I, uh, think we should talk,’ Maria stammered, her voice barely rising above a whisper.”

17) Add Color to Breathing and Voice

Breathing patterns and voice modulation can reveal a lot about someone’s emotional state.

Short, shallow breaths or a tremulous voice can indicate nervousness.

Describe these to allow readers to ‘hear’ and ‘feel’ the character’s nervousness.

Example : Instead of just stating, “Lucas was nervous,” describe his breathing and voice: “Lucas drew a shallow, shaky breath, his words coming out in hesitant fragments: ‘I, um, don’t know how to, uh, say this.'”

18) Describe the Passing of Time

How a character perceives the passing of time can indicate their emotional state.

Time might drag painfully slow or rush by in a disorienting blur when one is nervous.

Use this to build atmosphere and provide insight into the character’s inner world.

Example : Instead of stating, “Kelly felt nervous,” write: “Every second that ticked by felt like an eternity to Kelly, each moment stretching out as she waited for her name to be announced.”

19) Break It with Humor

Sometimes, breaking the tension with a moment of humor can accentuate the nervousness that preceded it.

This can make characters more relatable and endearing to the reader, showcasing their coping mechanisms.

Example : Rather than saying, “Tom was nervous,” you could write: “Tom fumbled with his keys, dropping them twice before finally unlocking the door. ‘Well,’ he chuckled nervously, ‘who needs a security system when you have butterfingers like mine?'”

20) Employ Foreshadowing

You can use foreshadowing to build anticipation and make the character’s nervousness more pronounced.

Plant clues early in the narrative that something significant, and potentially nerve-wracking, will happen later.

Example : Instead of saying, “Sandy was anxious,” employ foreshadowing: “Sandy couldn’t shake off the ominous feeling as she read the anonymous letter again. ‘See you soon,’ it ended, and every time she read those words, her stomach churned with a nervous dread she couldn’t place.”

21) Bring it Full Circle (Callback)

Sometimes calling back to an earlier moment of nervousness can demonstrate growth or a lack thereof in a character.

This can add depth to your character and make the emotion feel earned.

Example : Instead of saying, “Amy was no longer nervous,” you could use a callback: “Amy looked at the stage, remembering how she’d frozen up last year. But this time, her feet were steady. She smiled, her nerves giving way to newfound confidence.”

22) Layered Emotions

Often, nervousness isn’t a standalone emotion; it comes layered with anticipation, excitement, or even dread.

Describing these mixed feelings can offer a more nuanced and relatable portrayal of nervousness.

Example : Instead of saying, “Dan was nervous,” you could layer emotions: “Dan felt a strange cocktail of emotions—nervousness peppered with a dash of excitement and a hint of dread. It was his first day at a new job, after all.”

23) Blend Multiple Techniques

The most compelling portrayals often use a blend of multiple techniques.

By combining different elements like inner monologue, dialogue, body language, and pacing, you can craft a rich, multi-layered portrayal of nervousness that resonates with readers.

Example : “Jane’s fingers tapped an erratic rhythm on her desk. ‘You’ve got this,’ she silently assured herself, her stomach churning like a washing machine on spin cycle. Her breaths came in quick, shallow gasps, failing to clear the fog of unease that clouded her thoughts.”

When describing nervousness, it’s good to first understand it:

30 Words to Describe Nervousness in Writing

When it comes to describing nervousness, the right vocabulary can make all the difference.

Selecting precise words can make your prose more vivid and transport your reader into the emotional landscape of your characters.

Here are 30 words you can use to describe nervousness:

• Apprehensive

30 Phrases to Describe Nervousness in Writing

Sometimes a single word won’t suffice and a phrase can provide a more nuanced description of a character’s emotional state.

The following phrases can add complexity and detail when describing nervousness:

• Heart pounding like a drum
• A bundle of nerves
• Sweating bullets
• Butterflies in the stomach
• Walking on eggshells
• Twisting one’s hands
• Gnawing at the insides
• Mind racing a mile a minute
• Pins and needles
• Shaking like a leaf
• Biting one’s nails
• Stomach in knots
• Breathing quick and shallow
• Fumbling over words
• Ears burning with embarrassment
• Vein throbbing in the temple
• Holding one’s breath
• Suffering a nervous breakdown
• Nervous as a cat on a hot tin roof
• Feeling cornered
• Jumping at shadows
• Second-guessing oneself
• Trembling from head to toe
• Heart skipping a beat
• Palms clammy with sweat
• Restless leg syndrome
• Voice tinged with apprehension
• Pulse racing uncontrollably
• Lost in a fog of nervousness

3 Full Descriptions of Nervousness in Different Genres

Here are three full descriptions of how to describe nervousness in writing.

You’ll read about nervous characters in:

Science Fiction

Mystery/thriller.

John walked into the dimly lit room, its shadows casting eerie patterns on the walls.

His heart pounded in his chest as if a drumroll were announcing his entry. The smell of old books mixed with the musk of mildew, creating an ambiance of foreboding that gnawed at his insides.

He felt like he was walking on eggshells, each step a potential trigger for something he couldn’t quite articulate.

The room seemed to close in on him, and he found himself gripping the edge of the table, his knuckles turning white. His breaths were shallow, each inhalation a laborious task, as he felt the weight of eyes upon him—even though he was alone.

Emma looked across the candle-lit table, her eyes meeting Michael’s.

Her stomach was a swirl of butterflies, fluttering wildly as if trying to escape. Her hands felt clammy, and she discreetly wiped them on her napkin.

As he smiled, she found herself lost in a fog of nervousness, a tingling sensation crawling up her spine.

The thought of what might happen after dinner filled her with a heady mixture of excitement and dread.

Each time their eyes met, her heart skipped a beat, making her wonder if this was love or just a new level of emotional chaos she had yet to understand.

As Captain Williams stood before the interstellar council, his legs trembled beneath his space uniform, almost as if they were about to give way.

His heart felt like it was racing at warp speed, and he was acutely aware of the hundreds of extraterrestrial eyes focused on him.

Each species had its own way of scrutinizing, yet they all seemed to pierce right through him.

This is it, the first contact, don’t mess it up, he thought, his mind racing a mile a minute.

The gravity of the moment bore down on him, heavier than Jupiter’s pull, and he swallowed hard, trying to find his voice amid the lump of apprehension lodged in his throat.

Final Thoughts: How to Describe Nervousness in Writing

Nervousness is a critical element in tension and, therefore, every story.

If you’re looking for more guides on describing emotions and actions in writing, we have many great articles for on this site.

Related Posts:

• How to Describe Fear in Writing (21 Best Tips + Examples)
• How To Describe a Panic Attack in Writing (Ultimate Guide)
• How to Describe a Brave Person in Writing (21 Tips + Examples)
• How to Describe a Hug in Writing (21 Best Tips + Examples)

Crafting Authentic Anxiety Descriptions in Writing: A Comprehensive Guide

Putting emotions into words can be a tough task, especially when it’s something as complex as anxiety. You’ve likely been there, staring at a blank page, trying to capture the essence of a feeling that’s as elusive as it is powerful.

Writing about anxiety isn’t just about stating the facts. It’s about painting a picture that resonates with readers, making them feel what you’re trying to convey. This article will guide you through the process, providing you with the tools and techniques you need to accurately and effectively describe anxiety in your writing.

Stay with us as we delve into the intricacies of anxiety, exploring its various facets and how to best articulate them. By the end, you’ll be equipped to write about anxiety in a way that’s both authentic and compelling.

Understanding Anxiety

Before diving into how to describe anxiety in your writing, it’s crucial to understand what anxiety really is . Anxiety isn’t just a sense of worry or unease. It’s a complex beast, laced with multi-faceted layers, seeping into different corners of a person’s life and mind.

Anxiety doesn’t strike only in dramatic moments. Often, it’s a quiet monster – subtly showing up in mundane daily tasks. It creeps up when you’re making a cup of coffee, checking emails, or performing any of the countless tasks that may seem ordinary to others but may feel like a mountain to you when you’re dealing with anxiety. It catches you unawares, often when least expected.

Let’s look at some key points that are the hallmarks of anxiety. These are not the only symptoms but are common experiences for many dealing with anxiety. This understanding will help you while describing it in your writing.

• Excessive worry : Chronic and persistent worry about everyday situations.
• Restlessness : A feeling of being “on edge” or “unable to sit still”.
• Easily fatigued : A constant state of tiredness, regardless of physical exertion.
• Irritability : Quick to react or get angry over trivial issues.
• Sleep issues : Difficulty falling asleep or staying asleep.

Exploring these traits will help you inject authenticity into your portrayal of characters grappling with anxiety. It’s not about painting a dramatic image. It’s more about weaving these everyday experiences into your narrative. Your characters aren’t always trembling with fear.

Sometimes, your characters are just tired, irritable, or struggling to sleep. Sometimes, they’re caught in a vortex of relentless worry that clings even in the quietest moments. This closer look into the heart of anxiety will enable you to paint a picture that’s as real as it is raw.

In the following sections, we’ll delve deeper into practical techniques to describe anxiety effectively in your writing.

The Complexity of Emotions

Diving deeper into the quandary of describing anxiety in writing, you’ll encounter the larger picture – The Complexity of Emotions. Emotions aren’t easily boxed into specific labels. They’re intricate, layered, and often interrelated, transforming the task of tracing the contours of anxiety into a nuanced endeavor.

When writing about anxiety, you aren’t just detailing a singular emotion. Often, it’s a web of feelings like uneasiness, apprehension, dread, and more. Not only that, it’s about the physical sensations accompanying those feelings – a quickened heartbeat, a pit in the stomach, or tense muscles. This level of detail will enhance your depiction of anxiety, making it feel relatable and real.

However, let’s bring it to this premise: everyone experiences anxiety differently. A situation that makes one person anxious might not cause the same reaction in someone else. This is where subjectivity comes into play. The key isn’t to depict anxiety as how you presume others feel it; rather, it’s about illustrating how your characters experience it from their subjective perspective.

For instance, if a character fears public speaking, his anxiety might manifest as a racing heartbeat and a feeling of impending doom before stepping onto the stage. Conversely, if a different character fears abandonment, her anxiety could be demonstrated through insomnia ridden nights and a constant state of worry about her loved ones leaving her.

Let’s look at this from another angle: the perception or interpretation of anxiety is just as critical. Your character’s apprehension at being alone in a dark alley might seem ludicrous to another character who thrives in solitude and quiet. This contrast offers a compelling angle to your narrative, infusing it with multiple layers of understanding and empathy.

Remember, writing about anxiety means delving into its complexities and subtleties. It’s about reflecting its varying manifestations, implicating its physical and emotional aspects, and acknowledging its subjective nature. Appreciate the intricacies and present them to your readers, allowing them to empathize with your characters’ emotional journey.

Conveying Anxiety through Words

This journey takes a well-choreographed dance between the writer’s mind and their writing tool to portray the multifaceted nature of anxiety. When you’re doing this, it’s essential not to shy away from the dizzying mix of feelings, thoughts, and physical sensations associated with anxiety.

Diving right into the specifics, show, don’t just tell , is a critical rule to keep in mind here. Telling a reader that your character is anxious provides them with a foundational understanding . However, it’s showing them the churning stomach, the racing thoughts, the trembling hands, and the tight chest that really lures them in into empathizing with the character’s state of mind. Your narrative should aim to let a reader experience the anxiety alongside your character.

Let’s consider how word choice can play a significant role. Think about how you can utilize verbs, adjectives, and adverbs to your advantage. For example, instead of simply writing “he was anxious”, why not paint a more vivid picture? “His eyes darted around the room nervously, hands trembling like leaves buffeted by the autumn wind, heart pounding as if trying to break free from his chest.” This provides a deeper, more intimate view into the character’s emotional state.

Additionally, metaphors and similes are handy tools. Using these can create imagery that resonates with readers, allowing them to understand the severity and overwhelming nature of anxiety. Comparisons can make an abstract concept more tangible.

Nevertheless, it’s crucial to remember that anxiety isn’t a one-size-fits-all experience. It varies greatly from person to person. To authentically depict this reality, you should vary your descriptions, tailoring them to your unique characters’ perspectives and experiences. Crafting these descriptive details might take some time and thought, but this intricate process is what will make your narrative relatable and believable.

In the end, the purpose of conveying anxiety through words is to breathe life into your writing. Seamless integration of realistic descriptions can make your narrative more compelling, pulling the reader more in-depth into your story. But keep in mind, even if there’s no perfect way to pen anxiety , your aim should be to create a picture that’s authentic, relatable, and resonant. Let your characters’ anxiety be as nuanced and complex as it is in real life. Write with empathy and let your words reflect the reality of those struggling with anxiety.

Using Vivid Descriptions

You’ve grasped the concept, now let’s delve deeper into how to execute those vivid descriptions that truly capture the essence of anxiety. Remember, your aim isn’t just to tell your readers about anxiety – you want them to feel it, see it, and derive a true understanding of what it means.

Begin by honing in on the physical sensations that often accompany anxiety. How does an anxious person feel? Does their heart pound like a bass drum? Does their skin erupt with cold sweat, shivers cascading down their spine? Does it feel like a concrete slab pressing on the chest? These physiological responses are universal, and therefore, by incorporating them into your writing, it makes the depiction of anxiety more relatable.

Next, you must invest thought into the mental aspect of anxiety. It’s as vital as the physical, if not more. What goes on in an anxious mind? Is it a whirling maelstrom of worries, a ticking time bomb of impending doom, or an incessant echo of negative thoughts? Don’t hesitate to use powerful metaphors and similes. They draw readers into the character’s mind, allowing them to experience their llived reality.

Remember the uniqueness of your character . Each person experiences anxiety differently. Link these descriptions to aspects of their life. Tailor the depiction of anxiety to suit your character’s background, personality, and predicament. A brave firefighter will perceive anxiety differently from a timid teenager. Ensure your descriptions reflect this variation.

Creating an Emotional Connection

You’re not just writing about anxiety; you’re aiming to create an emotional bond between your reader and your characters. Authenticity in your description is the key to achieving this.

Empathy is what you’re striving to evoke. Place yourself in your characters’ shoes and dig deep into their emotions and psychological state. This immersion will provide you with genuine and compelling descriptions. But how can you craft such vivid portrayals?

Make it Personal

Being personal doesn’t mean that you have to share your own experiences explicitly. It means transforming universal feelings of anxiety into unique character-experienced emotions and events. It’s about understanding that each character’s anxieties are unique to them.

So, imagine your character: What are their fears, what are their triggers? Now, mold those elements into your narrative.

Show, Don’t Tell

The well-trodden advise, “show, don’t tell,” definitely holds validity here. Instead of stating your character is anxious, show it. Make your reader feel the character’s heartbeat quicken, their palms get sweaty, let them hear the rush of confused thoughts.

Making use of strategic metaphors and similes here will allow your reader to visualize and empathize with your character’s experience.

Highlight the Contrast

Animate the difference between the character’s calm state and anxious state. This will make the portrayal of anxiety drastic and hard-hitting. Drawing this contrast will underline the real impact of anxiety , capturing reader’s attention and creating a lasting impression.

Remember, the goal is not to simply describe an anxious state but to make your reader feel it, empathize with it, and understand it through your character’s perspective. The more real your portrayal, the deeper the emotional connection will be.

You’ve learned the art of describing anxiety in writing. You now understand the power of authenticity, the importance of personalizing your character’s fears, and the effectiveness of showing rather than telling. You’ve grasped the significance of sensory details and strategic use of metaphors and similes. Remember, contrasting calm with anxiety can create a lasting impression. Now it’s your turn to bring anxiety to life in your writing, making your reader feel and understand it from your character’s perspective. The journey may be challenging, but the result is worth it. Your writing will be more relatable, more engaging, and more impactful. So, go ahead, apply these insights and watch your characters come alive on the page.

Crafting authentic anxiety descriptions in writing involves capturing the physical and emotional aspects of the experience. According to Healthline, using vivid language and sensory details can help convey the intensity of anxiety. Verywell Mind suggests drawing from personal experiences and observing others to create realistic and relatable depictions of anxiety in writing.

Frequently Asked Questions

How can an author establish an emotional bond between readers and characters.

Authors can build an emotional bond by creating genuine descriptions of the characters’ emotional states, particularly their anxieties. This can be done by understanding each character’s unique fears and triggers, and presenting these emotions authentically.

What is the role of authenticity in writing about a character’s anxiety?

Authenticity is crucial in writing about a character’s anxiety. Realistic and relatable descriptions can evoke empathy in the reader, making them connect more deeply with the character’s experiences.

What is the significance of personalized descriptions in showcasing a character’s anxiety?

Personalized descriptions add depth to the character’s anxiety, making it uniquely theirs. By exploring the character’s individual fears and triggers, the descriptions can lead to a more profound reader’s understanding.

How can sensory details and metaphors enhance the description of a character’s anxiety?

By showing rather than telling, authors can utilize sensory details and strategic metaphors to vividly illustrate the character’s anxiety. Such devices can help readers virtually “feel” the anxiety, leading to a more immersive reading experience.

Why is it important to contrast a character’s calm state with their anxious state?

Contrasting a calm state with an anxious one helps to underscore the intensity of the anxiety. This contrast also helps create a lasting impression on the reader about the character’s emotional journey.

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Writing Anxiety: How to Describe Anxiety in Writing

By Happy Sharer

Introduction

Anxiety is a feeling of worry, unease, or fear, often caused by an impending threat or uncertainty. It is a normal emotion, but when it becomes intense and chronic, it may interfere with everyday activities and relationships. Writing about anxiety can be challenging, as it requires conveying the intensity of the emotions without becoming too overwhelming for readers. In this article, we will explore how to effectively describe anxiety in writing.

Use Vivid Imagery to Evoke a Sense of Unease and Fear

Vivid imagery is a powerful tool for conveying the intensity of anxiety in writing. By using descriptive language, you can create an atmosphere of unease and fear that will leave your readers feeling anxious. When describing a scene, focus on the details that evoke a feeling of dread or discomfort. Here are some examples of vivid imagery used to evoke anxiety:

• “The darkness was oppressive, like a heavy blanket that weighed down on my shoulders.”
• “My heart was pounding in my chest, sending ripples of fear through my body.”
• “The silence was deafening, like the calm before a storm.”

When using vivid imagery to evoke anxiety, it is important to focus on sensory details such as sight, sound, smell, taste, and touch. By including these elements in your description, you can create an atmosphere of unease and tension that will leave your readers feeling anxious. Additionally, you should pay attention to the nuances of the scene, such as the lighting, temperature, and even the characters’ expressions, as these can also contribute to the overall mood.

Show Physical Symptoms of Anxiety

Physical symptoms are another way to convey the intensity of anxiety in writing. Anxiety can cause a wide range of physical symptoms, from shortness of breath to sweating and trembling. Here are some examples of physical symptoms of anxiety:

• Rapid breathing
• Racing heart rate
• Trembling or shaking
• Dizziness or lightheadedness

When writing about physical symptoms of anxiety, it is important to focus on the character’s experience of the symptom. For example, instead of simply stating that the character is shaking, you could describe how their hands feel clammy and unsteady, or how their teeth are chattering uncontrollably. This will help your readers relate to the character’s experience, and thus understand the intensity of their anxiety more fully.

Include Dialogue that Highlights Anxious Thoughts

Dialogue is another useful tool for conveying the intensity of anxiety in writing. By having characters speak their anxious thoughts aloud, you can make the reader feel connected to the character’s experience. Here are some examples of dialogue that highlights anxious thoughts:

• “What if I make a mistake?”
• “I don’t know what to do!”
• “I can’t do this.”
• “I’m so scared.”

When incorporating dialogue into your story, it is important to ensure that the dialogue reflects the character’s personality and experiences. Additionally, you should pay attention to the tone of the dialogue and the response of other characters to provide context and further highlight the character’s anxious thoughts.

Describe the Inner Monologue of Characters

Inner monologue is another effective way to convey the intensity of anxiety in writing. By giving readers insight into the character’s thoughts and feelings, you can create a deeper connection between the reader and the character. Here are some examples of inner monologue to show anxious thoughts:

• “I can’t do this. What if I fail?”
• “I can feel my heart racing. I’m so scared.”
• “Why am I so nervous? I need to stay calm.”
• “I just want this to be over.”

When writing inner monologue, it is important to focus on the character’s individual thoughts and feelings, rather than simply stating the facts. This will help your readers connect with the character on a deeper level, and thus understand the intensity of their anxiety more fully.

Paint a Picture of the Environment

The environment can also be used to highlight the intensity of anxiety in writing. By focusing on the details of the setting, you can create an atmosphere of fear and tension that will leave your readers feeling uneasy. Here are some examples of how environment can be used to highlight intensity of feelings:

• Describing a dark and foreboding forest
• Mentioning an eerie fog that blankets the landscape
• Focusing on the oppressive heat and humidity
• Highlighting the sound of distant thunder and lightning

When using the environment to enhance your story, it is important to focus on the details that evoke a feeling of dread or discomfort. Additionally, you should pay attention to the nuances of the scene, such as the lighting, temperature, and even the characters’ expressions, as these can also contribute to the overall mood.

Explore Psychological Effects of Anxiety

Exploring the psychological effects of anxiety is another way to convey the intensity of anxiety in writing. By focusing on the internal struggles of the character, you can create a deeper connection between the reader and the character. Here are some examples of psychological effects of anxiety:

• Difficulty concentrating
• Trouble sleeping
• Feelings of helplessness
• Obsessive worrying
• Social withdrawal

When exploring the psychological effects of anxiety, it is important to focus on the character’s experience of the symptom. For example, instead of simply stating that the character is having difficulty concentrating, you could describe how their mind feels foggy and unfocused, or how they keep forgetting what they were doing. This will help your readers relate to the character’s experience, and thus understand the intensity of their anxiety more fully.

Writing about anxiety can be challenging, as it requires conveying the intensity of the emotions without becoming too overwhelming for readers. In this article, we explored how to effectively describe anxiety in writing. We discussed the use of vivid imagery, physical symptoms, dialogue, inner monologue, environment and psychological effects. By incorporating these techniques into your writing, you can create an atmosphere of unease and fear that will leave your readers feeling anxious.

We hope this article has provided you with helpful tips for writing about anxiety.

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Emotion: Anxiety

By The ProWritingAid Team

When you want to write the emotion anxiety, it's important to "show" the emotion your character is experiencing through their physical reactions and dialogue, rather than "tell" it. In this article we provide you with inspiration so you can avoid showing emotions and immerse your readers in your story.

Anxiety is a feeling of unease, nervousness, or worry about a future event or uncertain outcome. It often involves physical symptoms such as sweating, trembling, and an increased heart rate. Anxiety can range from mild to severe and can be a normal response to stressful situations, but it can also become a chronic condition that significantly impacts a person's daily life. It is important for writers to understand anxiety and how it affects their characters in order to write realistic and engaging portrayals.

Different Types of Anxiety

Situations associated with anxiety, physical reactions to anxiety, thoughts associated with anxiety, atmosphere of anxiety, verbs associated with anxiety, emotions before anxiety, emotions after anxiety, telling anxiety examples to avoid, practical examples of showing anxiety, exercises for showing anxiety.

Here are some different types of anxiety:

• Generalized Anxiety: a persistent feeling of worry and fear that is not related to any specific threat or situation.
• Social Anxiety: a fear of social situations and interactions that can lead to avoidance of social events and difficulty in forming relationships.
• Panic Disorder: sudden and intense attacks of fear and anxiety that can be accompanied by physical symptoms such as heart palpitations, sweating, and trembling.
• Obsessive-Compulsive Disorder (OCD): a condition characterized by intrusive, unwanted thoughts (obsessions) and repetitive behaviors (compulsions) that can be driven by anxiety.

Here are some situations where a character might experience the emotion of anxiety:

• Facing an uncertain or dangerous situation
• Feeling overwhelmed by a task or responsibility
• Dealing with a traumatic past experience or memory
• Anticipating a negative outcome or consequence
• Being in an unfamiliar or uncomfortable environment
• Feeling pressured to perform or meet expectations
• Coping with a chronic illness or condition
• Struggling with social anxiety or fear of judgment
• Experiencing a significant life change or transition

Here are some physical reactions a character experiencing anxiety might have:

• Increased heart rate and breathing
• Sweating or trembling
• Restlessness or fidgeting
• Avoidance or withdrawal from certain situations
• Difficulty concentrating or making decisions
• Overthinking or excessive worrying
• Irritability or agitation
• Muscle tension or headaches

Here are some thoughts a character experiencing anxiety might have:

• What if I mess up?
• I can't do this.
• I feel like I'm drowning.
• Why is everyone else so calm?
• I'm going to fail.
• What if I disappoint everyone?
• My heart is racing.
• I can't catch my breath.
• I'm so nervous.

Here are some ways that you might reflect the emotion of anxiety in the atmosphere of your scene:

• Use a description of the weather to create a sense of foreboding or unease, such as dark clouds, thunder, or lightning.
• Describe the setting in a way that makes it feel claustrophobic or cramped, like a small room with low ceilings or a crowded street.
• Use sensory details to create a feeling of discomfort or unease, like the smell of something rotten or the sound of a ticking clock.
• Use short, choppy sentences to create a sense of urgency or panic in the narrative.
• Incorporate elements of uncertainty or unpredictability into the setting, like an unfamiliar location or an untrustworthy character.
• Describe the body language of characters in a way that conveys anxiety, like shaking hands or fidgeting.
• Use details that create a sense of isolation or confinement, such as being trapped in a small space or feeling cut off from the outside world.

Here are some verbs commonly associated with the emotion of anxiety:

• Hyperventilate

Here are some emotions that may come before a character experiences anxiety:

• Apprehension
• Nervousness

Here are some emotions that may come after a character experiences anxiety:

• Frustration

Here are some examples of telling the emotion anxiety in a sentence. You should avoid things like this:

• John was feeling anxious about the meeting tomorrow.
• Sarah's anxiety was getting worse as the deadline approached.
• The thought of public speaking made Tom anxious.
• Mary's anxiety was so overwhelming that she couldn't concentrate on anything else.
• Jack felt a knot in his stomach as he thought about the interview.

It's worth noting that while these sentences do tell the reader that the character is feeling anxious, they don't really show us what that anxiety looks like or feels like. To create more engaging and immersive writing, it's usually better to show emotions through actions, thoughts, and dialogue rather than simply telling the reader what the character is feeling.

Here are some examples of showing anxiety in a sentence:

• She twisted her fingers together, tapping them against her knee, as she waited for the phone to ring.
• His heart raced as he scanned the crowded room, searching for a familiar face.
• The sound of footsteps approaching from behind made her jump and turn around quickly.
• She couldn't concentrate on anything else, her mind consumed with worry about what might happen next.

Here are some writing exercises to practice showing anxiety:

• Start by brainstorming situations that would naturally cause anxiety, such as a job interview, a first date, or a deadline.
• Imagine a character experiencing anxiety in one of these situations and write a scene from their perspective.
• Use sensory details to convey the physical symptoms of anxiety, such as sweating, shaking, or shortness of breath.
• Consider the character's thoughts and inner dialogue, including their worries and self-doubt.
• Experiment with different writing styles, such as stream-of-consciousness or fragmented sentences, to convey the character's racing thoughts.
• Write a scene where the character tries to calm themselves down, such as through deep breathing or positive self-talk.
• Explore how the character's anxiety affects their relationships with others, such as pushing them away or making them clingy.
• Think about how the character's anxiety may be rooted in past experiences or trauma and how this might impact their current situation.
• Try writing from the perspective of a secondary character observing the anxious character, and how they interpret their behavior.

Want more help with showing emotion instead of telling? You find more help in our full emotions thesaurus .

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Editor’s Note: In this interview on writing anxiety, instructor Giulietta Nardone describes what creative writing anxiety is, what causes it, and—most importantly—how to get over writing anxiety.

What is writing anxiety?

There are many people who would like to start writing, or to take a writing class, but they never get started because the critical voice that lives in their head—which we all have—tells them they’re not good enough to write, that no one wants to hear what they want to say. So they don’t bother.

People with writing anxiety might even get physical symptoms if they try to write, or to over-edit: perspiring, trembling, shortness of breath, pacing, and so on.

What is the opposite of writing anxiety?

I would say enthusiasm, excitement, exploration: knowing you want to dive in, and feeling free about that. A good feeling.

What causes writing anxiety?

I believe these things start when we’re quite young, and I would trace it to in our educational system, where things are right or wrong. I once taught a tween, and we did a creative writing exercise. After it was done, she wanted to know if she had the right answer.

That’s kind of the opposite thing from what you need to be a writer. You need to explore, and you don’t know what the right answer is when you start, because the right answer is the right answer for you .

I believe these things start when we’re quite young, and I would trace it to in our educational system, where things are right or wrong. That’s kind of the opposite from what you need to be a writer.

Creative writing is about exploring: going through the different layers of your life, of your memory, coming up with something that you want said. And if you’re suffering from perfectionism, which is very common, it can be difficult. I’ve worked with people who would never finish a project, because they had to be perfect. Most of my stories, even the ones I’ve had published, I don’t think were perfect.

I think too, people are afraid to fail, what they label as failure. There isn’t really such thing—again, it’s just about exploration. It’s getting things off your chest, learning about yourself. Sometimes people heal through writing. There are so many reasons to start writing. You’ve got to give yourself permission to start.

What experiences have you had with writing anxiety in your own writing?

For myself, an example is not writing but public speaking. When I was in college, I kept changing majors, because I was terrified to give a presentation. If I’d walk into a class and if giving a presentation was on the syllabus, I’d leave.

I knew I had to get over it by taking a speech class.

I was terrified. It took me a while to sign up for it—“I don’t want to do this.” Then I did sign up for it. The thing I feared in my life ended up being the best thing that ever happened to me. I keep saying, “What would have happened if I didn’t sign up?” Many years later, I wrote an essay about taking the class, and sold it to the college where I took the class. I got a lot of good feedback from people with similar fears.

There’s a continuum of fear when it comes to writing. Maybe you start, and then there’s a fear to finish, or a fear to send it out.

I work privately with writers, and a lot of writers are afraid to finish their stories and then send them out. There’s a continuum of fear when it comes to writing. Maybe you start, and then there’s a fear to finish, or a fear to send it out.

On that topic: my first essay in the Boston Globe  was something I wanted for a long time. They accepted my essay, I went and got the Sunday paper, opened and read it, and thought, “This is horrible. No one can read this.” It was way too personal. I wanted to drive around and grab every Globe and shred it. Then one of my friends caught me and said, “I saw your essay. It was great.” So writing anxiety happens with writers who are getting published too.

How do you recommend writers work with writing anxiety?

Write. It may sound contrarian, but you have to do the thing you’re afraid of.

Write. You have to do the thing you’re afraid of. You’ve got to start—that’s the tough part.

That’s always hard for me. I was afraid to hike into a canyon, so I went to Bryce Canyon with my husband and I took little baby steps the whole way down. I made it down and it was really beautiful, and I was glad I did it. I think I could do the Grand Canyon.

So just write. Hopefully take a class, with some guidance. You’ve got to start. The tough part is to start.

What can you tell us about your new course, Overcome Writing Anxiety: Boost Your Storytelling Confidence in Four Short Weeks! ?

This is a supportive, gentle program to get folks writing. They want to learn to trust each other, and most importantly trust themselves. We’re going to start short, with poetry, and then go a little longer with some flash fiction, and then creative nonfiction, maybe a short memoir. But we’re not going to write these long missives, so that no one gets frightened or overwhelmed.

We’ll be building up people’s courage every week. It’ll be fun and functional. I put it together influenced a little bit by a talk by Dr. Seuss. I love Dr. Seuss’s books, so I set it up with a Dr. Seuss lilt. I wanted it to be fun like Dr. Seuss. He was also very brave with his writing and his illustrations.

https://writers.com/classes/overcome-writing-anxiety-and-write-with-confidence

I see it as an inspirational program where you can build up your writing courage, and leave with some stories you may want to share with your family and friends. People will leave much more brave. And this is writing, but you can apply what you learned to other things: painting or singing or dance, whatever. I make myself do that all the time, and I’m always glad I do: I’ve done some great things just jumping right in.

I would like people who are feeling reluctant about writing to take a chance and join us. In my experience, it’s the risks we don’t take that can make us feel incomplete. It’s about getting comfortable taking risks, so you can do a lot of the things in life that you want to do, but you’re kind of keeping yourself from doing.

Looking for more practical guidance on tackling writing anxiety? See instructor Dennis Foley ‘s advice on the topic .

Frederick Meyer

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How to Write a Nervous Character

This is it—the big moment! Your characters are about to meet the enemy that has been ruining their lives, they just have to walk down a long, imposing hallway to get to his office. The scene is meticulously crafted and eerie, and you’ve thought out exactly how you want to build the suspense as your characters move down the hall to approach the office. There are a million things that could go wrong: the enemy could be expecting them, or he may not be inside at all. They could get caught before they even reach the door! 

And yet, even with all that suspense, your characters just don’t seem nervous enough. They simply move down the hallway, possibly thinking casually about how creepy it is. Despite everything, you can’t create a cohesive display of nervousness. You can’t quite convey how they should feel, and you risk taking your readers out of the story if they can’t relate to the main characters. So what do you do?

Well, first of all, you’re not alone. Like all emotions, nervousness is a difficult thing to portray. Sure, you could narrate their state of mind, but if their thoughts and motions don’t match that emotion, then your readers won’t be convinced. There are many things that go into writing about nerves, from body language and dialogue to the body’s biological response to anxiety. But once you understand those elements, it’s easier to write than you might expect.

Nervousness doesn’t just manifest as a result of a bad memory or fear, though. Someone can get nervous around a a person they like, and their nervousness could manifest in a different way. If that’s more like the kind of nervousness you want to convey, however, I recommend taking a look at my other article Romance 101: How to Write Characters Falling in Love .

Show, Don’t Tell

Now, if you hadn’t guessed from the intro, I’m a huge fan of not telling your readers what to think. You can’t be so direct as to simply state “he was nervous,” or stick in the adverb “nervously” at the end of anything your character does. It’s stale, and it’s not fun to read. Every sentence you write should be an opportunity to dazzle your readers and keep them immersed in the story. 

When showing how your character feels, try to think outside the box. Every character is different, so use their nervousness as a way to give more insight into their personality. Fear has a way of revealing a person’s true colors anyway, so find a way to tailor their reactions in a way that tells the reader more about them. For example, a character that is otherwise sweet might get sarcastic or rude when they start to get tense, or a character that has been sober for years might have a drink to calm their nerves. If a character stops speaking, or suddenly develops a stutter, then the audience is going to assume that they’re nervous without you having to narrate it. 

To further illustrate that, make sure you show exactly what the character is nervous about. That might sound obvious, but if their nervousness is a result of a bad memory associated with a place or person, you might have to emphasize that to make it clear to your readers. Make a point to describe the source of their anxiety, whether that’s a location, a person, an animal, or something else. You could even hyper-fixate on the details, especially the details related to the reason they make the character nervous. 

For example, your character may have been bitten by a dog when they were younger. When they encounter a dog, be sure to describe in detail how the dog’s large and sharp teeth are visible as its mouth hangs open, panting from running around chasing squirrels. Even if you haven’t revealed to the audience why the character is nervous around dogs, that information will provide all they need to know.

If you need a little more direction for showing nervousness in your writing, take a look my article on the topic: Show, Don’t Tell: What it is and How to Write it .

How to Write Nervous Body Language

When a person is nervous, they subconsciously shift around and fidget in ways that they ordinarily wouldn’t. To better show your character’s nervousness, you need to cue the readers in by drawing attention to the character’s nervous body language. This can take many forms depending on the character and the situation, but here are a few examples to get you started. 

A nervous character might:

• Shift their weight from one foot to the other
• Sway slightly where they are standing
• Fidget with their hair, clothes, nails, or something they’re holding
• Glance around the room or refuse to make eye contact with someone
• Chew on their lips or nails
• Hum quietly to themself
• Tap their fingers on their arm, the wall, or a table
• Wrap their arms around themself
• Cross their arms or legs while seated
• Pick at their lips or cover their mouth
• Rub their own neck or shoulder
• Sit with their knees up near their chest, or lay in the fetal position
• Look stiff and uncomfortable
• Check over their shoulder often, or glance around the room
• Cough or clear their throat often

There’s a multitude of different ways that nervousness could manifest in the character’s subconscious behavior. Each character would respond differently, and the same character might react differently depending on the situation. Confessing to a crush is going to result in different nonverbal cues than hiding in the woods from a killer would, after all. Both situations could make a character nervous, but not in exactly the same way. Keep the context of the situation in mind when picking body language for your nervous character. 

Physical Reactions to Nerves

When a person is faced with a worrying situation—like the threat of capture, a sound in the dark, or an encounter with an erratic individual—then they get nervous. This situation triggers an adrenaline response, also referred to as “fight-or-flight.” A flush of hormones increases the body’s heart rate and prepares the individual to fight off or flee from the potential danger. This reaction has several physical cues that you can draw from to help show your readers that your character is feeling nervous.

This reaction can also be triggered by an unwelcome surprise. For more information, check out my article: Boo! Writing Surprised Characters .

After the “fight-or-flight” response is triggered, a character may experience:

• A pounding heartbeat, or the feeling that their heartbeat is in their head
• Accelerated or heavy breathing
• A tingling sensation in their fingers, hands, or legs
• A rush of energy
• Tightened muscles
• Excessive sweating

It is easy to rely too heavily on these cues as a writer since many of these symptoms have become almost cliché. How many stories have you read where the character’s heart started pounding? Probably a lot. You can get around this by getting a little more clever with how you present the information, such as likening the beating of a heart to the beating of a drum or something hammering on the inside of the character’s skull. Show the readers what the character feels, instead of simply presenting objective information. 

Writing Nervous Dialogue

Of course, when a character is feeling nervous, then their speech patterns might differ from when they are feeling calm. Some people talk faster and speak more, while others might stutter or struggle to get a sentence out. Some people even stop talking altogether, and opt to draw as little attention to themself as possible. 

When writing dialogue for a nervous character, you have a couple of options. One of the best options is to give your character a stutter. Now, I know what you’re thinking, b-but a st-stutter isn’t just- just tripping up on saying c-certain words. In actuality, a stutter can manifest in many different ways . That is definitely a legitimate way to write a stutter, but if you want your character’s nervous dialogue to be a little more unique, you could explore a few of the other ways a stutter can manifest.

A stutter can cause a character to:

• B-break up w-words or st-struggle to pr-pronounce certain sounds. Thi-this works best if th-the character consistently struggles wi-with a specific sound, such as the “th” sound.
• Pause… awkwardly… when trying to say… anything. 
• Stop mid-sentence- not really finish a thought, or string many short sentences together. 
• Repeat words-words and phrases, and say things again, for-for extra clarity. To make sure that people know they’re saying words- saying words. 
• Jump from topic to topic quickly, like talking about the weather, then the water cycle, then how important it is to stay hydrated.
• Speak really really quickly and say one really long run-on sentence without really pausing to breathe and then be really out of breath when they finally finish their incredibly long word-vomit of nervously attempted conversation. 
• Pause frequently, and um… use a lot of filler words to… ah… fill in the silence with noise while they think of, uh, how to say something. 
• Speak with uncertainty, or, uh, no… Maybe they use the word “maybe” a lot, and stop themself mid-sentence.
• Trail off quietly, or mumble… 

Obviously, some of these examples are a little extreme with the way I presented them, but I wanted the point to be really clear. When using any of these in your story, try not to go so overboard, or it will become exhausting to read. To see if the dialogue works well with how you’ve written it, try reading it out loud to see if it flows the way you want it to, and conveys the right amount of nervousness. And of course, feel free to combine multiple options when crafting your character’s dialogue. 

Keep in mind that a person who stutters when they’re nervous might not stutter all the time. If they are nervous around other people, then they probably won’t stutter when talking to themself or to close friends. This is also true if they are reading a practiced script, or singing a song. Maybe the character never stutters, but when they encounter a particularly frightening situation, they stumble over their words. 

If your character stutters all the time, and it just gets more pronounced when they’re nervous, then they’re probably going to be hyper-aware of the fact that they’re struggling with their words. Living with a stutter can make a person self-conscious, so when it gets more pronounced, they might curse in frustration, repeat a sentence until they can get it right, or just stop talking altogether. 

Nervousness vs Anxiety

If your character is nervous about a lot of things, or tends to be nervous all the time, then you might want to research some anxiety disorders to see if you could model their behavior after a specific psychological condition. This doesn’t mean your character would need to change much at all, but having a condition to reference, like panic disorder or PTSD, could give you additional inspiration for building or developing your character. It is, of course, entirely optional, and it is a lot of extra work, but it could give your character a little more dimension and make them even more realistic. 

Fearful Whispers: Crafting Descriptions of Fear in Creative Writing

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

Have you ever found yourself so immersed in a chilling novel that you couldn’t help but feel a shiver crawl up your spine? Or stumbled upon a short story that left you with a lingering sense of unease long after you closed its pages? It’s the power of fear, intricately woven within the tapestry of the written word, that has the ability to captivate readers and keep them yearning for more. Crafting descriptions of fear is an art that takes both finesse and creativity, allowing writers to summon emotions that stimulate the senses and send our imaginations into overdrive. In this article, we’ll explore the intricacies of fear-inspired writing, diving deep into the realm of fearful whispers, and uncovering the secrets to crafting spine-chilling descriptions that will haunt your readers long after they’ve put down your work. So, grab your pens and prepare to delve into the chilling labyrinth of fear that lies within creative writing.

– Understanding the Power of Fear in Creative Writing

Understanding the power of fear in creative writing, physical sensations:, – crafting vivid imagery: describing fearful environments and atmospheres, – tapping into the senses: painting fear through descriptive language, – portraying fear through characters: facial expressions, body language, and dialogue, – utilizing narrative techniques: building suspense and tension in fearful moments, utilizing narrative techniques: building suspense and tension in fearful moments, – transforming fear into art: balancing descriptions and reader imagination, – mastering the art of fear: tips and tricks for conveying authentic emotions, mastering the art of fear: tips and tricks for conveying authentic emotions, frequently asked questions, insights and conclusions.

When it comes to creative writing, fear is a force that holds incredible power. It has the ability to captivate readers, ignite their imaginations, and keep them on the edge of their seats. Fear is a powerful emotion that can be harnessed to create intense and memorable stories. Here’s a closer look at why fear is such a potent tool in the world of creative writing:

• Evoking empathy: Fear has a unique way of tapping into our deepest emotions and vulnerabilities. By incorporating elements of fear into our writing, we can make readers feel a profound and genuine connection to the characters and situations they encounter. Whether it’s a gripping horror story or a thrilling suspense novel, fear sows the seeds of empathy, allowing readers to experience the narrative on a visceral level.
• Building suspense: Suspense is a crucial ingredient in any compelling story. Fear creates tension, and tension keeps readers hooked. From building anticipation with eerie descriptions to gradually revealing the unknown, fear drives the pace and rhythm of a story, leaving readers eager to uncover what lies ahead. By skillfully weaving fear into our writing, we can create a rollercoaster of emotions that keeps readers eagerly turning pages .
• Exploring the human condition: Fear is a fundamental part of the human experience. By delving into its depths within our writing, we can tackle universal themes such as mortality, vulnerability, and the pursuit of survival. Fear allows us to explore the complexities of human nature and confront the dark aspects of ourselves and society. Through this exploration, we provide readers with a mirror to reflect upon their own fears and, ultimately, find solace or inspiration within the narrative.

Fear is a powerful tool that should not be underestimated in the realm of creative writing. By understanding its allure and impact, we can effectively harness its power to create unforgettable stories that resonate with readers long after they’ve turned the final page.

– Exploring the Anatomy of Fear: Emotions, Physical Sensations, and Actions

Fear, an intrinsic part of the human experience, manifests itself in a myriad of ways. Understanding the anatomy of fear involves delving into the complex interplay between our emotions, physical sensations, and subsequent actions. Let’s explore this intriguing phenomenon further:

• Paranoia: Fear can often induce an overwhelming sense of paranoia, causing individuals to perceive potential threats where none exist.
• Anxiety: One of the most common emotions associated with fear, anxiety can lead to restlessness, unease, and an intense apprehension regarding future events.
• Terror: At the extreme end of the spectrum, terror overwhelms our senses, paralyzing us with an acute and visceral fear that can be debilitating.
• Racing Heart: When fear takes hold, our heart rate tends to spike, flooding our body with adrenaline and preparing us for a “fight or flight” response.
• Sweat-soaked Skin: Fear stimulates our sweat glands, leaving us with clammy skin as our body tries to regulate temperature amid heightened anxiety.
• Dilated Pupils: Our eyes become windows to our fear, dilating to allow more light in, sharpening our vision but making us hyperaware of our surroundings.

The actions we take while experiencing fear are as diverse as the individuals themselves:

• Avoidance: Fear frequently triggers a deep-seated instinct to avoid the source of our fear, be it a situation, place, or person.
• Fight: Some individuals may choose to confront their fears head-on, summoning the courage to face the threat and combat it with determination.
• Freezing: Fear can immobilize us, leaving us frozen in our tracks, momentarily unable to make any decisions or take action.

Crafting vivid imagery is a powerful tool for evoking fear in readers and creating an atmosphere of tension and unease. To describe a fearful environment, it’s important to engage the senses and paint a detailed picture that allows readers to immerse themselves in the scene. Use the following techniques to masterfully describe fearful environments and atmospheres:

• Choose descriptive and evocative words: Opt for words that convey darkness, foreboding, and danger. Words like “ominous,” “chilling,” and “sinister” can set the tone for a fearful environment.
• Engage the senses: Describe the sights, sounds, smells, and even tastes that amplify the feeling of fear. Depict the flickering shadows, the echoing footsteps, the acrid scent of decay, or the metallic tang of blood in the air.
• Create contrast: Contrast can heighten the sense of fear. Describe how a sliver of moonlight barely illuminates the sinister silhouette of a gnarled tree or how the silence is shattered by a sudden, bone-chilling scream.
• Utilize figurative language: Metaphors, similes, and other forms of figurative language can evoke fear by creating powerful associations and comparisons. For example, you can liken the relentless footsteps to the beating heart of a predator, or describe the dark woods as a labyrinth of nightmares.

By employing these techniques, you can skillfully describe fearful environments and atmospheres, transporting readers to the heart of terror and immersing them in a world filled with apprehension and suspense.

Fear, a powerful emotion that can consume us, has the ability to transport us into worlds of frightening uncertainty. And what better way to harness this power than through the art of descriptive language? By skillfully employing vivid and evocative words, an author can tap into our senses, painting fear onto the canvas of our imagination.

One of the most effective ways to evoke fear is through tactile imagery. Describing the sensation of cold sweat trickling down one’s spine or the clammy touch of fear on the skin, these physical sensations make the reader empathize with the characters, experiencing their fear firsthand. Furthermore, expertly incorporating visual imagery allows readers to visualize eerie scenes. For example, the moon casting long, haunting shadows on an abandoned street or the flickering candlelight revealing only glimpses of a mysterious figure lurking in the darkness.

• Tactile Imagery: Describing the sensations of fear through touch, such as cold sweat or trembling hands.
• Visual Imagery: Painting fear by creating vivid and eerie visual scenes, like sinister shadows or dimly lit environments.
• Sound Imagery: Utilizing sounds such as creaking floorboards or distant whispers to heighten the atmosphere of fear.
• Olfactory Imagery: Appealing to the sense of smell by describing the acrid stench of fear or the musty odors of decrepit settings.

Fear is a powerful emotion that often drives the actions of characters in a story. When it comes to portraying fear convincingly, various elements such as facial expressions, body language, and dialogue play crucial roles in creating a gripping narrative.

Facial expressions can effectively convey fear to the audience. A character’s widened eyes, furrowed brows, or trembling lips can instantly communicate their sense of terror. By emphasizing these facial cues through vivid descriptions or illustrations, writers and artists can immerse readers or viewers deeper into the character’s state of fear.

Body language is another vital aspect in portraying fear. When a character is scared, their body tends to react instinctively to the stimulus. Trembling hands, a clenched jaw, or a hunched posture can demonstrate their vulnerability and heightened state of anxiety. By incorporating these subtle physical cues into a character’s description or illustration, storytellers can add depth to their portrayal of fear.

Dialogue can also contribute significantly to the portrayal of fear. Through their words, characters can reveal their inner worries and express their apprehensions. Stuttering, rapid speech, or shaky voices can accentuate their fear and help the audience connect with their emotional turmoil. By using descriptive language and emphasizing tone, writers can effectively convey the intense emotions that accompany fear in a way that resonates with readers or viewers.

Mastering the art of portraying fear through characters requires a combination of nuanced facial expressions, body language, and well-crafted dialogue. By artfully utilizing these elements, storytellers have the power to evoke a sense of fear that lingers with the audience long after the story is told.

When it comes to creating engaging and thrilling stories, mastering the art of building suspense and tension in fearful moments is essential. By utilizing narrative techniques, writers can effectively captivate their audience and keep them on the edge of their seats. Here are a few techniques that can heighten the suspense and tension in your storytelling:

• Effective pacing: Alter the pace of your narrative to control the emotional intensity of the scene. Slow down the tempo during crucial moments, offering detailed descriptions and diving into the character’s thoughts and emotions. Conversely, quicken the pace during action-packed sequences to generate a sense of urgency and unease.
• Well-placed cliffhangers: Ending a chapter or scene with a suspenseful revelation or unresolved conflict can leave readers desperate for answers. By providing them with just enough information to pique their curiosity, you can ensure they keep turning the pages, eagerly awaiting the resolution to the tension-filled moment.
• Building anticipation: Foreshadowing and hinting at future events can generate a sense of anticipation and dread. By dropping subtle clues throughout your narrative, you can plant seeds of unease in the reader’s mind, preparing them for a fearful moment that is yet to come.

Implementing these techniques can significantly enhance the suspense and tension in your storytelling, immersing readers in a world where fear lurks around every corner. Remember to balance these moments with periods of relief to prevent overwhelming your audience. By skillfully weaving suspense into your narrative, you can create an unforgettable reading experience that will leave your readers gripping the edge of their seats.

When it comes to writing, description plays a vital role in engaging readers and bringing the story to life. However, it’s often a challenge to strike the right balance between providing enough detail to captivate the reader’s imagination and allowing them to fill in the gaps with their own creativity. One area where this challenge is particularly evident is when it comes to describing fear.

Transforming fear into art requires finesse and careful consideration. Rather than explicitly telling readers what to fear, skilled writers use evocative language and sensory details to convey the emotions associated with fear. By relying on the power of suggestion, writers allow the reader’s imagination to take over, creating a more personalized and immersive experience. This approach not only enhances the emotional impact of the story but also allows readers to connect with the protagonist on a deeper level. Through skillful balance, writers offer just enough description to guide the reader’s imagination while leaving room for their own interpretation.

• Use vivid language and strong adjectives to create a sense of unease without explicitly describing the fear itself.
• Focus on describing the physical sensations and reactions of the character, such as racing heartbeats, trembling hands, or heightened senses.
• Utilize metaphors and similes to evoke a strong emotional response in the reader.

By employing these techniques, writers can transform fear into art, engaging the reader’s imagination and allowing them to actively participate in the storytelling process. Remember, the goal is not to dictate every aspect of the reader’s experience but to provide a framework that allows them to interpret and engage with the fear in their own unique way.

Fear is a powerful emotion that can captivate an audience and truly immerse them in a story. Whether you’re an aspiring actor, writer, or simply someone looking to better convey fear in your everyday life, mastering the art of expressing authentic fear can be a game-changer. Here are some invaluable tips and tricks to help you tap into this emotion and leave a lasting impact:

• Understand the source: To convey fear convincingly, delve deep into the source of the fear your character or situation is experiencing. By understanding the underlying reasons behind the fear, you can create a more genuine portrayal that truly resonates with your audience.
• Physicality matters: Fear manifests itself physically, so pay attention to both your body language and facial expressions. Use your body to your advantage, allowing it to tremble or become tense, while maintaining eye contact with intensity. Showcase fear through your posture and gestures, creating an authentic portrayal that will evoke a genuine emotional response from your audience.
• Breath control: Fear can result in shallow or erratic breathing. Practice controlling your breath to mimic the effects of fear, such as quickened breaths or even holding your breath momentarily. This deliberate control will enhance the believability of your performance and allow your audience to truly connect with the emotions you’re expressing.

Mastering the art of fear is not about simply pretending to be scared; it’s about evoking genuine emotions within yourself and your audience. Remember, practice makes perfect , so take the time to experiment with different techniques and discover what works best for you. By incorporating these tips and tricks into your repertoire, you’ll be well on your way to truly mastering the art of fear and creating memorable and authentic emotional experiences for everyone involved.

Q: What is the purpose of crafting descriptions of fear in creative writing? A: Crafting descriptions of fear allows writers to evoke emotions in readers, creating a more immersive and engaging reading experience. It helps to build tension and suspense, making the story more realistic and relatable.

Q: How can writers effectively describe fear in their writing? A: By using sensory details, such as sight, sound, smell, taste, and touch, writers can paint a vivid picture of fear in the reader’s mind. Additionally, incorporating strong verbs, metaphors, and powerful language can enhance the impact of the description.

Q: Are there any specific techniques that writers can employ to describe fear? A: Yes, writers can make use of similes to compare fearful situations to something familiar, creating a stronger connection for the reader. They can also employ foreshadowing or create a sense of anticipation to build fear gradually throughout the narrative.

Q: What are some common mistakes writers should avoid when describing fear? A: Writers should avoid relying on clichés or overused phrases, as it can detract from the originality and impact of their writing. It is also important not to overlook the emotional and psychological aspects of fear, as these elements can greatly enhance the believability of the description.

Q: Can you provide an example of a well-crafted description of fear? A: Certainly! Here’s an example: “Her heart pounded in her chest like a relentless drum, each beat echoing the terror coursing through her veins. The darkness enveloped her, suffocating any semblance of comfort, as she strained her ears to catch any sound that might reveal the lurking danger nearby.”

Q: What role do pacing and sentence structure play in describing fear? A: Pacing and sentence structure significantly impact the portrayal of fear in writing. Short, fragmented sentences and quick-paced descriptions can convey a sense of urgency and panic, while longer, more complex sentences can build tension and apprehension.

Q: How can writers ensure that their descriptions of fear have an emotional impact on readers? A: To have an emotional impact, writers should tap into the character’s internal thoughts and feelings associated with fear, balancing physical and emotional descriptions. By revealing the character’s vulnerability and vulnerability, readers can better empathize and connect with the experience of fear.

Q: Can readers experience fear through descriptions alone? A: Yes, skilled writers can make readers experience fear through descriptions alone. Through effectively painting a vivid and intense picture in readers’ minds, along with immersing them in the characters’ emotional journey, writers can evoke fear even without any tangible threats or danger.

Q: Is there a limit to how much fear can be described in a story? A: While fear can be a powerful tool in storytelling, overusing it can desensitize readers and dilute its impact. It is crucial to balance fear with other emotions, character development, and plot progression to maintain the desired effect without overwhelming the reader.

Q: Are there any valuable exercises or resources for writers looking to enhance their description of fear? A: Absolutely! Writers can benefit from practicing free writing, allowing their thoughts and emotions to flow freely without judgment. They can also read books or stories known for their captivating descriptions of fear and analyze how the authors construct scenes to evoke emotions in readers.

In conclusion, mastering the art of crafting descriptions of fear in creative writing adds depth and intensity to our stories, leaving readers feeling truly captivated and unsettled.

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How to Describe Worry in Writing

By: Author Paul Jenkins

Posted on Published: July 4, 2022  - Last updated: January 5, 2024

Categories Writing , Creativity , Filmmaking , Storytelling

It can be difficult to write about a worried character. They don’t always show their worries on the surface and may not even know what’s going on themselves. But that doesn’t mean you can’t create a believable and compelling character who worries all the time. In this post, we’ll show you the best way to create a worried character and how to make them feel real to your readers in your creative writing.

Characters Are Worried for a Reason – Give Readers a Glimpse

When writing about a character who worries, it’s important to give your readers some insight into why they worry. Otherwise, the worry may come across as unfounded or irrational.

So how do you describe worry in a way that’s both believable and understandable?

One way is to focus on the physical sensations of worry. This includes things like a racing heart, sweaty palms, or butterflies in the stomach. These physical reactions can be triggered by a variety of things, such as anticipation of a future event or memories of a past event.

• By describing the physical sensations of worry, you can help your readers understand and sympathize with your character’s inner turmoil.
• Another way to describe worry is to focus on the thought process itself. What goes through someone’s mind when they feel anxious or stressed? Often, worry is based on irrational thoughts or fears. This can mean thinking an upcoming event is catastrophic or thinking about a past mistake. By showing how these thoughts contribute to the feelings of worry, you can help your readers understand the person’s mental state.

Show How the Character’s Worry Impacts Their Actions

All characters face worry or stress in their lives, and these worries can greatly affect the way they think, speak, and act. As a writer, it’s important to capture this sense of worry in your writing to create fully developed and believable characters.

One way to show how worry affects a character is through their thoughts. A character who worries may be thinking about it constantly, even when she should be focusing on something else.

In their mind, thoughts circle around the worst-case scenario, or they replay past events over and over again, trying to find a clue as to what went wrong. This preoccupation with worry can lead to insomnia, anxiety, and depression.

Another way to show how worry affects a person is through their words. A worried person may speak faster than usual, or they may stumble over their words and stutter.

They may also have difficulty concentrating on a conversation and may digress and worry in the middle of a sentence.

In addition, a person who worries may blurt out things they wouldn’t normally say – they may say something that gives too much away, or they may make a raunchy joke. This kind of behavior says a lot about a character’s personality and state of mind.

Characters who worry often worry about what if.

• What if I’m not good enough?
• What if I’m not prepared?
• What if I fail?

This way of thinking leads to a sense of fear and unease that can be conveyed by both the person’s thoughts and actions. Social anxiety can be a big part of what is going on.

For example, a person who’s worried about an upcoming exam might be pacing, biting their nails, or having difficulty concentrating. By showing how worry affects a character’s thoughts, words, and actions, you can give readers a deeper understanding of the character’s motivations and fears.

Plus, this attention to detail can help make the story more believable and realistic.

Show the Character’s Innermost Thoughts and Fears About Their Worry

When you’re writing about worry, it’s important to portray the character’s innermost thoughts and fears.

One way to do this is to use descriptive language.

For example, instead of simply saying, “ I’m worried about the upcoming exam ,” the person might say, “ I’m scared about the upcoming exam. What if I fail it? Then I’ll never graduate. ” This wording helps build a picture of the person’s emotional state and allows readers to empathize with their fears.

It’s also important to show how the person is dealing with her worries. Does she try to distract herself? Does she allow the worries to consume her? A person may deal with their worries in a variety of ways, such as excessive drinking, drug use, or long, hot showers.

By showing both the emotion itself and the character’s reaction to it, you can give readers a deeper understanding of what their worries feel like.

Body language can be a powerful way to show fear and anxiety. Shaking hands, for example, can convey a sense of fear or foreboding. Hunched shoulders, furrowed brows, pacing, and clenched fists are also signs of worry. A clenched jaw and teeth grinding are also signs of stress.

Inner monologs can reveal a person’s deepest fears and worries. Finally, thoughts about the future can show how a person’s worries affect their decisions.

One way to show a character’s innermost thoughts and fears is to have them keep a diary, as was done brilliantly in Bridget Jones’s Diary , for example.

Worry in the Eyes

When you’re writing about characters who’re worried, it can be helpful to describe their eyes. This is because the eyes are often a telltale sign of worry, stress, or anxiety.

For example, someone who’s worried may look around the room with wide eyes, trying to see all possible dangers.

Or the pupils may be dilated, making the eyes appear larger than usual.

Also, the person may blink more often than usual to prevent their eyes from drying out from stress.

Eyebrows may be drawn together and the skin between them may be wrinkled.

Another way to show worry is squinted eyes. This can convey suspicion or alertness as if the person is trying to assess a situation or a person.

With anxiety symptoms like this, you can help readers understand how the person is feeling and why they’re behaving in certain ways.

Worry in the Voice

One way to show that a character is worried is through their dialog. Concerned characters often speak quickly, use filler words, or stumble over their words as a vocal mirror of their negative thoughts.

You can also have them stumble over their words or hesitate in the middle of a sentence. Another way to show worry in the voice is to have the character’s pitch rise, either because they’re panicking or because they’re trying to sound more convincing.

Finally, you can make the character’s voice tremble or quiver as an anxious thought crosses their mind, which expresses both fear and uncertainty.

You Need the Backstory

It’s important that you know the backstory well in your writing process. This is because worry usually arises from some kind of conflict or problem.

To portray worry convincingly in your writing, you need to be able to show how the conflict or problem has affected your character.

• What’s at stake?
• What’s your character’s goal?
• And what’s she afraid of losing?

Here are some things to keep in mind as you flesh out the backstory of a character who’s worried:

• How did the conflict or problem arise?
• What’s the cause of the character’s stress?
• What’re the consequences of failure?
• What’s your character’s greatest fear?

Answering these questions will help you create a well-rounded and believable character who’s real concerns. If you know the backstory well, you can write about worry in a way that’s relatable and compelling.

What Worry Feels Like Inside

Here’s how someone might describe being worried:

Some days it’s hard to focus on anything but worry. It’s like a storm cloud hovering over your head, casting a shadow over everything else in your life.

When you worry, it feels like your mind is stuck in a loop of anxious thoughts. You feel tense and nervous, or you feel like you can’t focus on anything else. Your heart might be racing and you might start to sweat. You might even feel like you’re going to throw up or have a panic attack.

All of these physical symptoms can make it hard for you to think clearly or calm down. Worry can also affect your sleep, so you end up feeling not only anxious but exhausted.

Worry is all-consuming and can’t be shaken off. Your stomach is in knots and you can barely catch your breath.

Every little sound feels like it’s multiplying tenfold, and you can’t sit still. You pace back and forth, rock back and forth, or wrap your hair around your finger obsessively.

You might even start picking at your skin or biting your nails.

All you can think about is what could go wrong and how disastrous the consequences could be.

It can feel like your thoughts are spinning out of control. You may feel like you can’t turn your brain off.

It’s a stressful way to live, but it’s hard to see a way out when worry has such a tight grip on you.

Mastering Emotional Description Through Personal Insight

A crucial element in expressing emotions effectively in writing, such as conveying worry, lies in tapping into your emotional experiences. The best way to capture the essence of an emotion authentically is by understanding it intimately; one of the most effective methods to achieve this is through journaling. Regularly analyzing and articulating your feelings in a journal, you develop a deeper understanding and a more nuanced vocabulary for expressing emotions.

To assist you in this reflective practice, we recommend exploring “ Deep Journal Prompts ” from Brilliantio. These prompts are designed to guide you into a profound exploration of your emotional landscape, helping you articulate and understand complex feelings like worry, joy, frustration, and more. This deep self-exploration can significantly enhance your ability to describe these emotions in your writing.

Alternatively, for those looking to make journaling a consistent daily practice, “ 365 Journal Prompts ” offers a prompt for each day of the year, covering a wide range of emotions and scenarios. This can be an excellent way to ensure a varied and comprehensive exploration of your emotional experiences over time.

Incorporating these journaling practices into your routine not only aids in personal growth but also equips you with the tools to describe emotions more vividly and authentically in your writing.

Writing Anxiety

What this handout is about.

This handout discusses the situational nature of writer’s block and other writing anxiety and suggests things you can try to feel more confident and optimistic about yourself as a writer.

What are writing anxiety and writer’s block?

“Writing anxiety” and “writer’s block” are informal terms for a wide variety of apprehensive and pessimistic feelings about writing. These feelings may not be pervasive in a person’s writing life. For example, you might feel perfectly fine writing a biology lab report but apprehensive about writing a paper on a novel. You may confidently tackle a paper about the sociology of gender but delete and start over twenty times when composing an email to a cute classmate to suggest a coffee date. In other words, writing anxiety and writers’ block are situational (Hjortshoj 7). These terms do NOT describe psychological attributes. People aren’t born anxious writers; rather, they become anxious or blocked through negative or difficult experiences with writing.

When do these negative feelings arise?

Although there is a great deal of variation among individuals, there are also some common experiences that writers in general find stressful.

For example, you may struggle when you are:

• adjusting to a new form of writing—for example, first year college writing, papers in a new field of study, or longer forms than you are used to (a long research paper, a senior thesis, a master’s thesis, a dissertation) (Hjortshoj 56-76).
• writing for a reader or readers who have been overly critical or demanding in the past.
• remembering negative criticism received in the past—even if the reader who criticized your work won’t be reading your writing this time.
• working with limited time or with a lot of unstructured time.
• responding to an assignment that seems unrelated to academic or life goals.
• dealing with troubling events outside of school.

What are some strategies for handling these feelings?

Get support.

Choose a writing buddy, someone you trust to encourage you in your writing life. Your writing buddy might be a friend or family member, a classmate, a teacher, a colleague, or a Writing Center tutor. Talk to your writing buddy about your ideas, your writing process, your worries, and your successes. Share pieces of your writing. Make checking in with your writing buddy a regular part of your schedule. When you share pieces of writing with your buddy, use our handout on asking for feedback .

In his book Understanding Writing Blocks, Keith Hjortshoj describes how isolation can harm writers, particularly students who are working on long projects not connected with coursework (134-135). He suggests that in addition to connecting with supportive individuals, such students can benefit from forming or joining a writing group, which functions in much the same way as a writing buddy. A group can provide readers, deadlines, support, praise, and constructive criticism. For help starting one, see our handout about writing groups .

Identify your strengths

Often, writers who are experiencing block or anxiety have a worse opinion of their own writing than anyone else! Make a list of the things you do well. You might ask a friend or colleague to help you generate such a list. Here are some possibilities to get you started:

• I explain things well to people.
• I get people’s interest.
• I have strong opinions.
• I listen well.
• I am critical of what I read.
• I see connections.

Choose at least one strength as your starting point. Instead of saying “I can’t write,” say “I am a writer who can …”

Recognize that writing is a complex process

Writing is an attempt to fix meaning on the page, but you know, and your readers know, that there is always more to be said on a topic. The best writers can do is to contribute what they know and feel about a topic at a particular point in time.

Writers often seek “flow,” which usually entails some sort of breakthrough followed by a beautifully coherent outpouring of knowledge. Flow is both a possibility—most people experience it at some point in their writing lives—and a myth. Inevitably, if you write over a long period of time and for many different situations, you will encounter obstacles. As Hjortshoj explains, obstacles are particularly common during times of transition—transitions to new writing roles or to new kinds of writing.

Think of yourself as an apprentice.

If block or apprehension is new for you, take time to understand the situations you are writing in. In particular, try to figure out what has changed in your writing life. Here are some possibilities:

• You are writing in a new format.
• You are writing longer papers than before.
• You are writing for new audiences.
• You are writing about new subject matter.
• You are turning in writing from different stages of the writing process—for example, planning stages or early drafts.

It makes sense to have trouble when dealing with a situation for the first time. It’s also likely that when you confront these new situations, you will learn and grow. Writing in new situations can be rewarding. Not every format or audience will be right for you, but you won’t know which ones might be right until you try them. Think of new writing situations as apprenticeships. When you’re doing a new kind of writing, learn as much as you can about it, gain as many skills in that area as you can, and when you finish the apprenticeship, decide which of the skills you learned will serve you well later on. You might be surprised.

Below are some suggestions for how to learn about new kinds of writing:

• Ask a lot of questions of people who are more experienced with this kind of writing. Here are some of the questions you might ask: What’s the purpose of this kind of writing? Who’s the audience? What are the most important elements to include? What’s not as important? How do you get started? How do you know when what you’ve written is good enough? How did you learn to write this way?
• Ask a lot of questions of the person who assigned you a piece of writing. If you have a paper, the best place to start is with the written assignment itself. For help with this, see our handout on understanding assignments .
• Look for examples of this kind of writing. (You can ask your instructor for a recommended example). Look, especially, for variation. There are often many different ways to write within a particular form. Look for ways that feel familiar to you, approaches that you like. You might want to look for published models or, if this seems too intimidating, look at your classmates’ writing. In either case, ask yourself questions about what these writers are doing, and take notes. How does the writer begin and end? In what order does the writer tell things? How and when does the writer convey their main point? How does the writer bring in other people’s ideas? What is the writer’s purpose? How is that purpose achieved?
• Read our handouts about how to write in specific fields or how to handle specific writing assignments.
• Listen critically to your readers. Before you dismiss or wholeheartedly accept what they say, try to understand them. If a reader has given you written comments, ask yourself questions to figure out the reader’s experience of your paper: What is this reader looking for? What am I doing that satisfies this reader? In what ways is this reader still unsatisfied? If you can’t answer these questions from the reader’s comments, then talk to the reader, or ask someone else to help you interpret the comments.
• Most importantly, don’t try to do everything at once. Start with reasonable expectations. You can’t write like an expert your first time out. Nobody does! Use the criticism you get.

Once you understand what readers want, you are in a better position to decide what to do with their criticisms. There are two extreme possibilities—dismissing the criticisms and accepting them all—but there is also a lot of middle ground. Figure out which criticisms are consistent with your own purposes, and do the hard work of engaging with them. Again, don’t expect an overnight turn-around; recognize that changing writing habits is a process and that papers are steps in the process.

Chances are that at some point in your writing life you will encounter readers who seem to dislike, disagree with, or miss the point of your work. Figuring out what to do with criticism from such readers is an important part of a writer’s growth.

Try new tactics when you get stuck

Often, writing blocks occur at particular stages of the writing process. The writing process is cyclical and variable. For different writers, the process may include reading, brainstorming, drafting, getting feedback, revising, and editing. These stages do not always happen in this order, and once a writer has been through a particular stage, chances are they haven’t seen the last of that stage. For example, brainstorming may occur all along the way.

Figure out what your writing process looks like and whether there’s a particular stage where you tend to get stuck. Perhaps you love researching and taking notes on what you read, and you have a hard time moving from that work to getting started on your own first draft. Or once you have a draft, it seems set in stone and even though readers are asking you questions and making suggestions, you don’t know how to go back in and change it. Or just the opposite may be true; you revise and revise and don’t want to let the paper go.

Wherever you have trouble, take a longer look at what you do and what you might try. Sometimes what you do is working for you; it’s just a slow and difficult process. Other times, what you do may not be working; these are the times when you can look around for other approaches to try:

• Talk to your writing buddy and to other colleagues about what they do at the particular stage that gets you stuck.
• Read about possible new approaches in our handouts on brainstorming and revising .
• Try thinking of yourself as an apprentice to a stage of the writing process and give different strategies a shot.
• Cut your paper into pieces and tape them to the wall, use eight different colors of highlighters, draw a picture of your paper, read your paper out loud in the voice of your favorite movie star….

Okay, we’re kind of kidding with some of those last few suggestions, but there is no limit to what you can try (for some fun writing strategies, check out our online animated demos ). When it comes to conquering a block, give yourself permission to fall flat on your face. Trying and failing will you help you arrive at the thing that works for you.

Celebrate your successes

Start storing up positive experiences with writing. Whatever obstacles you’ve faced, celebrate the occasions when you overcome them. This could be something as simple as getting started, sharing your work with someone besides a teacher, revising a paper for the first time, trying out a new brainstorming strategy, or turning in a paper that has been particularly challenging for you. You define what a success is for you. Keep a log or journal of your writing successes and breakthroughs, how you did it, how you felt. This log can serve as a boost later in your writing life when you face new challenges.

Wait a minute, didn’t we already say that? Yes. It’s worth repeating. Most people find relief for various kinds of anxieties by getting support from others. Sometimes the best person to help you through a spell of worry is someone who’s done that for you before—a family member, a friend, a mentor. Maybe you don’t even need to talk with this person about writing; maybe you just need to be reminded to believe in yourself, that you can do it.

If you don’t know anyone on campus yet whom you have this kind of relationship with, reach out to someone who seems like they could be a good listener and supportive. There are a number of professional resources for you on campus, people you can talk through your ideas or your worries with. A great place to start is the UNC Writing Center. If you know you have a problem with writing anxiety, make an appointment well before the paper is due. You can come to the Writing Center with a draft or even before you’ve started writing. You can also approach your instructor with questions about your writing assignment. If you’re an undergraduate, your academic advisor and your residence hall advisor are other possible resources. Counselors at Counseling and Wellness Services are also available to talk with you about anxieties and concerns that extend beyond writing.

Apprehension about writing is a common condition on college campuses. Because writing is the most common means of sharing our knowledge, we put a lot of pressure on ourselves when we write. This handout has given some suggestions for how to relieve that pressure. Talk with others; realize we’re all learning; take an occasional risk; turn to the people who believe in you. Counter negative experiences by actively creating positive ones.

Even after you have tried all of these strategies and read every Writing Center handout, invariably you will still have negative experiences in your writing life. When you get a paper back with a bad grade on it or when you get a rejection letter from a journal, fend off the negative aspects of that experience. Try not to let them sink in; try not to let your disappointment fester. Instead, jump right back in to some area of the writing process: choose one suggestion the evaluator has made and work on it, or read and discuss the paper with a friend or colleague, or do some writing or revising—on this or any paper—as quickly as possible.

Failures of various kinds are an inevitable part of the writing process. Without them, it would be difficult if not impossible to grow as a writer. Learning often occurs in the wake of a startling event, something that stirs you up, something that makes you wonder. Use your failures to keep moving.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Hjortshoj, Keith. 2001. Understanding Writing Blocks . New York: Oxford University Press.

This is a particularly excellent resource for advanced undergraduates and graduate students. Hjortshoj writes about his experiences working with university students experiencing block. He explains the transitional nature of most writing blocks and the importance of finding support from others when working on long projects.

Rose, Mike. 1985. When a Writer Can’t Write: Studies in Writer’s Block and Other Composing-Process Problems . New York: Guilford.

This collection of empirical studies is written primarily for writing teachers, researchers, and tutors. Studies focus on writers of various ages, including young children, high school students, and college students.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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How can I describe nervousness?

Becoming nervous in the heat of a situation. Perhaps you witnessed something not for the faint of heart. Like, how would I describe shaky legs without being so boring about it.

• creative-writing
• description

• 1 Actually, I would provide very little by way of description. Also depends on whether the narration is first or third person. You could simply write, "I was nervous about..." or something similar. If the narrator is third person but not omniscient, and the nervous character is not directly speaking, you could write something such as, "Jane fidgeted." We will be able to infer the rest, from the surrounding narrative. No need for drama. –  user23046 Commented Apr 16, 2017 at 21:58

4 Answers 4

Well.. There are simple and less simple answers to these kinds of questions that will give you different results.

First; the simple : "He/I was nervous".. - Not a lot to misinterpret, but not a lot for the reader to feel either.

Second; the less simple : "He/I did this, said this, felt this" - the "this's" in the example above would then be replaced with examples of behaviour that people are familiar with connecting to nervousness: Stuttering / repeating yourself / lacking or missing words quick/uneasy breathing using or positioning your hands/arms/legs differently looking around quickly/without focus paying attention to certain details, either relevant or not sweating the list goes on...

@FlyingPiMonster uses most of these in his example in his answer. You can use whichever suits your characters and the situation they're in. When you describe the qualities of an emotion/feeling/state that someone is in, the reader is more likely to feel that emotion, rather than just "know what you mean"... the what makes the character nervous could in this case be what he's paying attention to

Perhaps: Think of something that made you nervous - how did you act/react? If you cannot remember how you behave when nervous (It'd surprise me a little, but) ask someone else how they felt and or acted last time they were nervous. Perhaps even ask someone specific that your character may remind you of, if possible.

• 2 This would have been my answer to, showing the effects of the nervouness rather than stating it. Espevially useful if the character doesnt instantly recognize they are nervous. –  Seserous Commented Jul 7, 2018 at 4:15

If you want to avoid being boring you avoid even alluding to the nervousness at all.

Think of some of the things that might cause your knees to shake that have nothing to do with nervousness.

Maybe your character checks the thermostat and wonders how the room can be so cold when the heat is set to 75°.

Make your character wonder if people are wondering why your character needs to piss so badly.

Your character could do something completely out of character, or give in to an old vice, like having one smoke, just this once, because it’s only once.

Have your character do something compulsive, like pull out their third stick of gum in 2 minutes, or pull their socks up repeatedly, in hopes that that will help hold them in place. Yet somehow it only makes them itch more.

If the tone is right, have your character remark that their legs are as numb as if they’d sat on the john for an hour playing Clash of Clans.

One of the most important ways you’ll establish that mythical authorial “voice” is by thinking outside the box. Anyone can convey that their character is nervous by stating that they’re sweating or that their heart is pounding. If you want to reach your readers, make it personal—personal to you, personal to your character. Bring your own experiences into the picture.

Most of the time, you won’t even need to hint at the fact that your character is nervous. That should become obvious the moment you write, "He lit up another cigarette,” because you've already established that your character gave up smoking years ago.

Spend less time describing the nervousness, and more time describing what is making your characters nervous.

Neither of them moved a muscle. Elias could hear his own heartbeat; he could even hear Jamie's nervous breaths. Two sets of footsteps were coming toward them. One was heavy and slow, like an adult's; the other seemed quicker and lighter. (from something I'm writing)

In this short paragraph, only one sentence is devoted to actually describing nervousness: hearing one's own heartbeat and someone else's breath. Readers know from that sentence that Jamie and Elias are nervous; there is no need to tell them again.

Instead, the rest of the paragraph is about their situation. Why are they nervous? They need to avoid detection, and two mysterious figures are moving toward them. This heightens the tension in the scene and gives Elias and Jamie a reason to be nervous, which is much more effective than continuing to describe nervousness itself.

Talk to people about what happens when they get nervous so you have a strong database of ideas. And give every character a different set of reactions. The main character in the novel I'm working on likes to take leaves or flowers and slowly shred them with her fingers. Another character reacts physically sometimes to the point of violence. Others look away from the person they're talking to.

There are many ways to show nervousness and also many degrees of it. Being scared can overlap but it's different. Some people are energized by nervousness (I am...it's part of why I love to perform on stage). Others lose the ability to speak or to function or to think clearly. Some will stammer or make mistakes. Still others will behave perfectly normally except for that telltale sign only people who know them will notice.

Not the answer you're looking for? Browse other questions tagged creative-writing fiction description or ask your own question .

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Master List of Actions That Show Fear

Hi, everyone! This is a post about how to show fear in writing through the things that the character actually does .

The great American author F. Scott Fitzgerald had a sign over his writing desk that read:

Action is character.

And I think about this all the time.

In the past, I’ve made a list of ways to how to describe fear in writing (along with lists to describe other emotions), and lots of people have found them useful! But action makes the emotion even more vivid…and it’s only through action that a story can move forward.

When a character is anxious or scared, you usually want the readers to be on the edges of their seats, too, and that’s when “show don’t tell” becomes especially important. For example:

Telling: Ella felt terrified of the serial killer on the loose as she went to bed.

Showing : Before Ella went to bed, she double-checked that the doors were locked. Her heart pounded harder as she peered out her back window into the darkness.

There are a lot of things a character might be afraid of, ranging from minor—such as an unpleasant confrontation, or the revelation of an embarrassing secret—to dire. Different actions are appropriate for different fears, of course! And the action a character takes in the face of a danger or threat tells the reader a lot about that character. Does the character freeze? Flee? Prepare to fight? Attack? Pretend the whole thing isn’t even happening?

Here’s my list of “show don’t tell” examples for fear-based actions. Some of these are very small, and some are life-changing. I’m not making any distinction here between rational and irrational fears or actions. Pin it to Pinterest if you think you might want it for future reference!

bite your nails

make nervous, sarcastic jokes

clutch your chest

cover your eyes or mouth

freeze in place

repeatedly look over your shoulder

scan a crowd for signs of a threat

deny or minimize a threat—explain how it’s a hoax, it’s overblown, etc.

stay up all night, unable to sleep

leave the lights on all night

refuse to be alone

call the police

call a friend

ask someone else or a group for protection

be extra friendly to people who might defend you

be extra friendly to people you fear might harm or punish you

avoid the one you’re scared of: take a different path to their desk at work, decline a meeting or an invitation, etc.

keep your head down

plead with the threatening person

bargain with the threatening person

threaten the threatening person

criticize the threatening person to others

back slowly away

pull the blankets over your head

make yourself smaller—duck your head, cower, wrap your arms around yourself, wrap yourself into a ball

hide behind a large object, in a closet, etc.

hide behind someone else

ask someone else for a place to hide

make a permanent move to another town—or country, or planet

refuse to leave the house; call in sick from work or school, etc.

put off work

refuse to start a new project

refuse to speak

snap at loved ones—or strangers

refuse to answer the door

open the door only a crack to see who it is

refuse to answer phone calls or texts

lock all the doors—and check the locks

changing the locks

changing passwords

close the blinds—and peer through the blinds

board up the windows

put up a tall fence

check closets, under the bed, etc., for intruders

hide and/or lock up valuables

install a security system

hire a bodyguard

adopt a big dog

change passwords

lock down or delete social media accounts

delete emails or email accounts

document someone’s actions

destroy documents or other evidence

falsify documents or bribe officials in order to secure an alibi or an escape

distract yourself from impending doom with TV, books, a hobby, or friends and family

save more money

move money into a new, private bank account—or withdraw and hide cash

buy pepper spray

stockpile guns and ammunition

take vitamins

get vaccines

get a medical test or screening

try experimental drugs and unproven treatments

hoard food, water, medical supplies, and toiletries

rehearse an escape plan or a crisis response

consider what could be used as a makeshift weapon, such as an iron skillet or a chair

grab a makeshift weapon

put on a bulletproof vest or chain mail

train to fight

take survival training

use religious or superstitious means of protection, e.g. a St. Christopher medal for traveling

make a will

charge someone with looking after your children when you’re gone

physically attack the threatening person

Do you love writing scenes where characters are scared—or do you find them hard to write? Do you have suggestions for how to show fear in writing? Let us know in the comments section below! Thanks so much for stopping by, and have a great week!

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14 thoughts on “ master list of actions that show fear ”.

Thank you for this list. I love that you share so many of yours. They are such a handy tool to refer to as I write.

Aw thanks Bonnie! I’m glad to hear it! I’m going to do more of these action lists 🙂

Thank you. This list is very helpful. Reading through it helped me remember all of the things people do that shows fear, that don’t readily come to mind.

Thanks, Jill! I’m so glad you like it 🙂 Thanks for reading!

Very useful list. Thank you so much!

Thanks for reading, Naomi!

Great list! Thanks!

Thanks, Judith! Glad you liked it 🙂

Great list, Bryn. I love the concrete actions. I also love the pictures you shared. So much difference in the poses, but very visual clues. Thanks for this list.

Hi Jessie! Haha, I took some time getting the pictures. 🙂 Thanks for reading! Hope you’re enjoying the holiday season!

wonderful list. I’m more likely to use a character being anxious rather than fearful, but they share some of the same feelings and actions.

‘be extra friendly to people you fear might harm or punish you’ Ouch, that one really pinned down a nervous trait of mine. I’m not sure I’ve ever seen this explored in fiction before, maybe I should give it a try.

Thank you!!!

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36 Creative Ways People Describe Their Anxiety to Those Who Don't Understand

Everyone knows what it’s like to feel nervous. It’s what rattles you before a big test, and what makes your heart beat a little faster before a first date. But for people who live with anxiety, it’s frustrating when your experience is likened to the everyday nervousness everyone feels.

Mighty contributor B.L. Acker knows this well. She wrote :

Whenever I start to explain the part of my mental illness diagnosis that includes severe anxiety, I always receive confused looks. They are usually followed by judgmental comments about how “everyone has problems and stress in their lives,” telling me that I need to “learn to cope and work through it all.”

To help people understand what her anxiety was like, Acker did something creative — she made an anxiety chart , similar to a pain level chart, and now uses it to explain how anxious she feels to loved ones.

Inspired by this, we wanted to see other creative ways people explain their anxiety to others who may not understand.

Here’s what our mental health community shared with us : 

1. “[Anxiety is] a gremlin who undermines you and sits there talking crap constantly.” —  Alex G.

2. “I named her Sierra. The girl in my head I can keep caged up sometimes. But she screams, so loudly and so horribly, that it breaks her cage. Then she brings out the club and mercilessly beats me up with everything I have ever done in my life, all while screaming at me that I’m a failure, and I deserve nothing good in my life. All I can do is curl up in the fetal position while she violently strikes me with the weight of my mistakes.” —  Sarah G.

3. “It’s like having super powers but having no control over them. It’s the strength of the Hulk, but it comes out as anger. It’s Harry Potter’s invisibility cloak, but you can’t choose when you get to wear it. It’s wanting to be as brave as Batman, but being too afraid to leave the bat cave. It’s knowing you are a superhero, but you are stuck in a body/mind that won’t let you. It’s wanting to save the world, but you can’t even save yourself.” —  Bex A.

4. “When I’m on the edge of a panic attack, it feels like my brain is breaking. Like it’s being split into two hemispheres.” —  Kerrie W.

5. “You know those special effects in movies when the character is moving in slow motion, but their surroundings are racing past them?  That’s what it’s like.” —  Alyssa K.

6. “It almost feels like your mind is stuck on vibrate and you can’t calm it down.” —  Roxy R.

7. “It’s the feeling of worry you get when you can’t sleep because you have an important exam the next morning. Except it’s there for many other reasons at many different times.” —  Anahita H.

8. “It’s like a thousand tabs are open at the same time and you have to watch them carefully, each one of them at the same time. But then everything closes down with no warning, and it’s like a fatal error, and nothing seems to work anymore.” —  Emu S.

9. “Panic attacks give you a pulse of adrenaline like you got rear-ended going 70 down the highway. All sense of fear and survival are heightened, but in actuality, you’re just in line at a cafe for a muffin.” —  Chandra G.

10. “It feels like you’re wading in water, and on your bad days you’re drowning and can’t catch your breath.” —  Kristen B.

11. “It’s having your body reacting to a real emergency while your brain is wondering what the emergency is — because there is not one. But your body continues and you cannot turn off the alarm.” —  Cathy W.

12. “It’s the panic-y feeling you get when you’re underwater in a dream and you think you’re drowning, when you can actually breath just fine.” —  Mikelle M.

13. “If you went skydiving for the first time and you pulled the ripcord and your chute didn’t open — my panic attacks feel like how you would feel in that second.” —  Kitty C.

14. “Imagine being stressed about a test. Your heart is racing, your breathing quickens… And now imagine having that feeling constantly — 24/7 for no reason and every reason at the same time.” —  Michelle W.

15. “It’s that bad feeling you get in the pit of your stomach when something bad is going to happen. Except it’s all the time, and you never find out what the bad thing that’s going to happen is.” —  Hali B.

16. “That constant feeling when you miss a step walking down stairs or you almost fall back in your chair.” —  Tim G.

17. “It’s like water sloshing in your stomach, you can feel it crashing around, hitting all sides, changing in intensity, getting worse and worse.” —  Kaitlyn R.

18. “I call it my shoulder devil because it’s always whispering horrible things in my head and I can’t stop it.” —  Alyson S.

19. “My anxiety is so bad at times that this is all I can do. Just sit and let it happen. I get so tired, I have no more fight.” —  Kelly H.

20. “It’s like the walls are closing in and you have no means of escape.” —  Heather S.

21. Submitted by  Lucy Hackett

22. “It’s like having a hamster on a hamster wheel or a carousel on steroids inside of your head.” — Madison A.

23. “Everything is screaming, even the silence.” — Chelsea G.  

24. “It’s like having your brain on overload. It’s on fire and you can’t put the fire out.” — Bethan L.

25. “This is what my brain looks like during an anxiety attack. I can’t formulate sentences or full ideas. I’m in a full panic.” — Kacey K

26. “I feel like my insides are going to explode.” — Tami G.  

27. “You know that three seconds of fear you get when you slip, trip, etc.? It’s like that. All day, every day.” — Stephanie Q.

28.  “You know that feeling of laughing so hard with your friend, you just look at them, and you start again and can’t stop. That on the opposite end of the spectrum. I cry and have no control over it. And I don’t know why I’m crying. Other than that, it would be feeling overwhelmed over little things.” — Coral M.

29. “You know that feeling you get when you’re faced with your greatest fear?  It’s like that … but for the littlest things like getting a haircut or something as simple as riding in a car.” — Reba E.

30. “Like trying to find air while you’re underwater. Impossible.” — Emma G.

31 . “It’s living with a feeling of doom constantly, or that you’ve forgotten something and can’t remember what.” — Christiana T.  

32. Submitted by Maree M.

33. “When you’re driving and see a cop car come out of nowhere and you get that rush of fear that you’ve done something wrong, when you haven’t and they are not there for you at all. But the feeling never leaves, even after the cop car has gone.” — Courtney D.

34. “You know that feeling of falling when you’re asleep? That moment of sheer panic when you jerk awake right before you realize you don’t have to be scared? It’s that. All the time.” — Meghan D.

35. “Like constant chatter jumping from subject to subject and going down a rabbit hole in my head.” — Jordan T.

36. “You know when you’re watching a scary movie and the music changes so you know there’s going to be a jump scare any moment and you don’t know when? It’s like that except the jump scare never comes.” — Nikki G.

How would you describe your anxiety to someone who doesn’t understand?

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How Creative Writing Exercises Can Lessen Anxiety and Heighten Self-Confidence

Posted on 06.09.21 by Brittany Capozzi

Photo by Kaotaru on Unsplash

Getting Out of My Own Way

I’m a writer who often finds it difficult to motivate myself to start writing, no matter what the project is. I’m also someone with anxiety. You’d think that losing sleep or ruminating over something would encourage me to simply write in a journal to feel better. But it’s never that simple. I can’t seem to get out of my own way when my anxiety tells me that everything I write must be perfect.

It’s a catch-22. To decrease my anxiety, I have to write. I can trick myself into writing by coming up with creative writing exercises to explore. Since writing actually strengthens areas of the brain, it’s really a form of self-care. Therefore, I give myself permission to have fun, which heightens my self-confidence.

As a result, the catch-22 becomes a win-win.

Getting Creative

Here are some creative writing exercises that I do:

Make a Worry List

List your worries as though they’re written on hats. Why hats? Because at the end of an exhausting day outside, we hang up our hats. We put away what was weighing us down. For example, I write down “What’s my next career move?” and can even picture a chess piece on the imaginary cloth, making it less intimidating.  While I’m still very much aware of the worry’s presence, it has a place to live without touching me. This is beneficial because I feel better about myself when I am able to distance myself from my worries.

Write Down Random Words

Make a list of ten words and try to use each one in a sentence. Any words, any type of sentence! When I do this exercise, I write by hand, because I feel more connected to my words this way. Writing by hand also keeps our senses engaged and helps our memory. This is important once you know that there’s a lot of science out there that shows that anxiety can be a factor in dementia later in life.

Write Down Things You Love

Find a zippered pouch and place what you love to do inside it. Recently I found a beautiful cloth pouch that read, “Today I will not stress over things I can’t control.” Appropriately enough, I was shopping while procrastinating on what I had to write for the week. I decided to put verbs describing what I love to do inside the pouch. I didn’t want to put worries in it because I’d be physically holding onto them. Writing down what I love to do gives me a sense of control. I write down at least one thing every day on an index card that stays in the bag. It’s okay if you write “dancing” over and over; this tells you that you should be dancing. And if you write different activities, then you’re expanding your passion and curiosity. Curiosity is healthy because it educates us and keeps our minds fluid. Also, if you’re a crafty person, you can make word magnets or cut up pieces of paper and toss them in. It’s important that this exercise includes what you love to do and not just things you love because it acts as a reminder to get moving.

Don’t Worry, Laugh

Even with these exercises, sometimes fear tells my brain that my writing isn’t good enough. I quiet this fear by diving into wacky freewriting. Freewriting for a set amount of time gives me freedom from judgment, and often I get a good laugh with myself. Laughing is one of the best results you can get because it improves motivation, energy, positive thinking, and even your immune system.

Sometimes my wacky writing surprises me by showing itself as moving or inspiring. To get to these surprises, however, I need to ignore my inner critic.

So, get writing to stay healthy. No judgment!

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By Brittany Capozzi

Capozzi holds a BA in English from Curry College with a double concentration in Creative Writing and Professional Writing. While enrolled, she presented her undergraduate thesis, “Therapeutic Writing: A Remedy for Understanding and Transforming Life Experiences.” At Step Up For Mental Health she has been a Digital Content Writer, Peer Support Trainer, and HR Generalist. Capozzi is a 500-hour certified yoga instructor with a focus in Therapeutic Essentials and has taught Yin Yoga as well as Yoga for Depression and Anxiety.

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Emmmie Heart New Member

Describe anxiety..

Discussion in ' Character Development ' started by Emmmie Heart , Mar 17, 2018 .

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); So my MC has some serious anxiety. Now I have anxiety myself mostly having to do with time, being early to work and have a routine set up through the day, or driving, and thinking negatively all the time thinking of the "What ifs". I know that there is different types of Anxiety, such as one with change, such as she has to do when her apartment is being demolished and has to move. Now I don't have this anxiety because I moved a lot as a child. So, how do I truly describe this anxiety when it is already hard to put into words.  

izzybot (unspecified) Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); With things like this I always recommend talking to / reading things from people who do have the condition in question, rather than asking other writers. That said, I would focus on the root of the anxiety. I'm someone for whom routine and sameness feel safe -- the feeling is that as long as things continue the way they've been going, it'll be okay, so any deviation from the routine opens up the potential for bad things to happen. It sounds especially traumatic for her home to be taken away. That's typically someone's safe space, where they can get away from external stressors and have the most control over the environment. And it's not like she's being evicted -- it's being demolished . The place she feels safest in is being destroyed ; there's no way she can ever go back to it. That might bring on a feeling that she'll never be able to feel safe again, or at the very least, it's going to be a long time before she's able to settle in to somewhere new and regain the sense of safety. Change itself can be stressful because it's full of unknowns. All of those 'what ifs' are compounded by "What if I'm not even thinking of all the what ifs?" -- it can feel safer and even soothing in a way to try to 'plan' for every potential problem, but all you're really doing is making yourself obsess over worst possible outcomes. She doesn't know where she's going to live, so she's 'planning' for what she'll do if she has to live in some horrible situation -- what if my new landlord is a serial killer? will I be able to fight him off? what if I can't find anywhere to live at all? can I survive on the street? what will I do when it's winter? When your brain is really good at finding things to be nervous about, it's easy to spin off into absurd scenarios. All that said, it's really dependent on her -- who she is as a person, how well she manages her anxiety, whether she's on medication for it. If she is medicated, something like this could easily trigger an emotional state that her current medication's not able to handle. If she's been in therapy, she might have a better chance of realizing that she's overreacting, and you could have her attempting to self-soothe and regulate herself (to whatever degree of success). Ditto if she's been dealing with anxiety for a long time and is just kinda used to it / how it makes her behave. Despite having anxiety, I'm a pretty level-headed person who's capable of going, "Okay, I'm being an idiot, and I need to go sit down somewhere and catch my breath, that's all." Is she the type of person to do that, or is she less experienced / has more severe, possibly unmedicated anxiety that's going to cause her to spin off into panic attack mode and have a breakdown? That's up to you.  

Dragon Turtle Deadlier Jerry

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); I hate moving. Oh god, I have too much stuff. How am I going to pack it all? What about the fragile stuff? What if I don't have enough boxes? What if I get sick or hurt right before moving day? How am I going to find a new place to live? What if every place turns me down because of bad credit? Everywhere wants proof of income nowadays. How much do storage units cost? I'm going to have to put all my furniture in one and go stay with my sister. What if she says no and I have to stay in a hotel? That's not any cheaper than renting a place. In fact it'll be worse because I'll have to eat out for every meal. Who's going to help me move? Should I hire movers? That's a money sink right there. But if I get a U-Haul I'll have to do the thing where you put stickers on any spot that's damaged so they don't charge you for the damage, and I might miss one, so I'd better take timestamped photos like the last time I had a rental car. Oh god, last time I moved I was in the old apartment until 1 AM cleaning it out and I still got slapped with cleaning fees. What about my cat? He's too old to deal with this. I can't take him away from his home, that'd be cruel. I'm going to miss this place so much. How the hell can they just kick people out of their homes like this? What's my commute going to be like in the new place? What if the only place I can find is like an hour's commute time? Am I going to have to quit my job? Do I have time to find a new place AND give notice? Do I even have enough money for a security deposit? What about places that want first and last month's rent? What if I wind up somewhere that seems nice at first but is actually a disaster? Everywhere I can afford has terrible reviews on apartmentratings.com... Brought to you by: Dragon Turtle, who has anxiety and also really hates moving.  

T_L_K Senior Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Mmm... She's lost an important point of reference. She is destabilised. She is agitated by sudden changes which are forcing her to move into unknown territory. The feeling of being unsettled makes her feel restless. Her life's balance is being suddenly disrupted. Yes?  

GlitterRain7 Galaxy Girl Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Anxiety could be feeling like there's some sort of impending doom, even when nothing can go wrong.  

O.M. Hillside Senior Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Okay, so she's moving and it's making her anxious. I also moved a lot as a child, so I don't get anxious about that. But from general observations and people who've talked to me about feeling nervous/anxious about this they tend to tell me stuff like: Worried they won't make any friends at the new place they'll live in, and so they'll be alone. Expand that and you got something substantial there. They're going to miss it here. The familiarity, the knowing where everything is, knowing the people, having a place in society that they're comfortable with. There's really a good amount of anxiety here with having that knowledge that you're about to go somewhere you do not know. Worried that the people in the new place are going to be stuck up or rude or aloof or xenophobic(closed off to new people). Similar to one, but slightly different. Nervous about the crime levels of the new place. Nervous about the class of the area, the property value, the culture. Things like that.  

Privateer Senior Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); izzybot said: ↑ With things like this I always recommend talking to / reading things from people who do have the condition in question, rather than asking other writers. Click to expand...

John Grant Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Emmmie Heart said: ↑ So my MC has some serious anxiety. Now I have anxiety myself mostly having to do with time, being early to work and have a routine set up through the day, or driving, and thinking negatively all the time thinking of the "What ifs". I know that there is different types of Anxiety, such as one with change, such as she has to do when her apartment is being demolished and has to move. Now I don't have this anxiety because I moved a lot as a child. So, how do I truly describe this anxiety when it is already hard to put into words. Click to expand...

DeeDee Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Emmmie Heart said: ↑ how do I truly describe this anxiety when it is already hard to put into words. Click to expand...

ITBA01 Active Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); I have anxiety at times, and I'll try to describe it the best I can. Basically, I tended to get anxious about change, especially with regards to schedules. It was a big problem with me at my previous job. Many of the workers were quite lazy, and I often had to do their jobs as well, which lead to my schedule changing. Also, when I would get a pizza order when I was about to do something else, or about to leave, I would also get anxious. Having to stay late was another thing that set me off a bit. Essentially, changes to routine, even if in the grand scheme weren't very big deals, caused me to get anxious, and sometimes angry. I usually kept it private, but not always, a fact which I am ashamed of, and am trying to work on. If I were to best describe what it feels like, I would say you get a complete one track mind, to the point where everything else becomes secondary, including reason and logic. You start to sweat, and try and do things quickly, which can result in mistakes, which means you have to take even longer. Sometimes, you try and blame others, in an attempt to justify your anger, which just increases your anxiety. After it passes, and you begin to think more rationally, you feel ashamed, and want to do better next time. However, that's easier said than done. Hope this helped.  

Mink Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); I moved a lot as a kid, but have anxiety (officially diagnosed as social anxiety, but I experience other types and it often centers around my pets). For myself, any form of anxiety feels like someone wrapped a hand around my gut and continues to tighten and tighten as the situation grows closer and closer. My heart races, my thoughts begin to stagger, and my mouth dries. The unreasonable thoughts war with the logical side of me. I know my dogs will be fine in the car for the several hour drive; I know the door is locked; and I know the stove is turned off. However, the thoughts ask, "Are you sure?" and this repeats itself until I force myself to listen to the advice psychologists have given me. Really, for your situation, any sort of anxiety-themed feelings could likely work.  

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Privateer said: ↑ Pretty much every human being who ever lived has experienced anxiety. It's just an emotion like sadness or joy. There are anxiety disorders where people feel it more than is normal, but it's still the same emotion; it just won't go away when it ought to. Asking what 'different kinds of anxiety' feel like is like asking what different kinds of happiness feel like or different kinds of anger. There are as many answers as there are people in the world. More, in fact. Does my happiness when I'm in the woods with my son feel different to Bob's happiness when he has a nice curry? Would my curry-related happiness feel the same as Bob's? Click to expand...

John-Wayne Madman Extradinor Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Imagine being rational, logical and calm. Now imagine your mind doing the opposite and realizing it. Edit: and unable to regain control of yourself  

LastMindToSanity Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); Emmmie Heart said: ↑ Now I don't have this anxiety because I moved a lot as a child. So, how do I truly describe this anxiety when it is already hard to put into words. Click to expand...

Danyal New Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); I believe everyone has their own anxiety problems, meaning that we have our own form of anxiety and you should try to describe this yourself. Try Creating a mind map of your feelings at the time, use the 3 base feelings as help.  

Rick Hansen Member

TheRealStegblob Kill All Mages Contributor

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); My girlfriend suffers from anxiety and agoraphobia. I myself have never gotten a panic attack or really had anything other than mild anxiousness (aside from the very rare weird "about to fall asleep but have a sudden weird jolt of anxiety" that happens for no god damn reason). If she were going to move, she'd be freaked out about people seeing her. She'd be afraid people would see her 'messing up' or not doing something right and that anyone through any window anywhere might be looking at her and judging her somehow. That's an incredibly simple way of putting it, but it's those really morbid and silly things that trigger her, even if she knows how silly it is. She knows fully well no one would be looking at her or watching her or judging her on anything, but that still freaks her out. Also, having to go anywhere she's "trapped" in any way, like between aisles at a super market or something. She gets really freaked out in the middle of aisles because if she has to 'escape' for some reason, she'd need to go all the way to either side of the aisle to exit it. That's just general descriptions of her anxiety. I hope it can help you at all.  

mashers Contributor Contributor Community Volunteer

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); I would focus on the physical sensations and reactions first - pounding heart, shortness of breath, agitation, knot in stomach... this will help the reader to empathise with what the character is experiencing as we can all relate to those sensations. Then describe the thought process and behaviours. When in a state of anxiety one will often repeat the same thought pattern over and over again, and/or jump rapidly from one thought to another in a runaway fashion. You can use both of these in your description of the character's thoughts, perhaps dropping the word count in each sentence to give a breathless, panicked feel to the passage during which she is anxious.  

DueNorth Senior Member

googletag.cmd.push(function() { googletag.display('funpub_9c7ab84c9a4e994a955b2bb88df44c31'); }); There may be a little confusion in the responses you are getting generated by some confusion in the question itself. You seem to be confusing the experience of the feeling of anxiety —which we all have and is actually necessary to live since it is an internal signal of danger—with “triggers” for anxiety. All of can get triggered by some similar things, for example, an unexpected loud noise in the middle of the night. And some of us are mildly or massively triggered by things that are of little bother to others. As writers, we can make up that our characters are triggered by all kinds of things. But how we describe their manifesting the anxiety is really all about description. You certainly have been anxious (read fearful) in your life. Describe it, embellish it, make the reader feel it. The fact that your main character’s anxiety is being triggered by moving does not alter how you describe anxiety. Anxiety is manifested similarly irregardless of the nature of the trigger.  

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Expressive Writing for Anxiety, Depression, & Stress: Meta-Analysis

Olivia Guy-Evans, MSc

Associate Editor for Simply Psychology

BSc (Hons) Psychology, MSc Psychology of Education

Olivia Guy-Evans is a writer and associate editor for Simply Psychology. She has previously worked in healthcare and educational sectors.

Learn about our Editorial Process

Saul McLeod, PhD

Editor-in-Chief for Simply Psychology

BSc (Hons) Psychology, MRes, PhD, University of Manchester

Saul McLeod, PhD., is a qualified psychology teacher with over 18 years of experience in further and higher education. He has been published in peer-reviewed journals, including the Journal of Clinical Psychology.

Expressive writing, such as journaling, involves writing about one’s deepest thoughts and feelings, often regarding stressful or traumatic experiences. This emotional disclosure process may help individuals process and make sense of their experiences, leading to reduced feelings of anxiety. While some studies suggest immediate benefits, others indicate that the positive effects on anxiety may emerge after a delay, suggesting that expressive writing could potentially provide both short-term and long-term relief from anxiety symptoms .

• Expressive writing had an overall small but significant effect (Hedges’ g = −0.12) on reducing symptoms of depression, anxiety and stress in healthy and subclinical samples.
• The intervention effect emerged after a delay, as evidenced by assessments at follow-up periods rather than immediately post-intervention.
• Studies that implemented short intervals (1–3 days) between writing sessions yielded stronger effects compared to medium (4-7 days) or long intervals (>7 days).
• The effects were consistent across other intervention features like focus, instructions, number of sessions, topic repetition, and delivery mode.

Expressive writing, which involves expressing one’s deepest thoughts and feelings about emotionally-charged events, is a promising intervention for healing psychological wounds (White & Epston, 1990; Smyth & Pennebaker, 2008).

However, its efficacy has not been firmly established, with some meta-analyses finding benefits (Frattaroli, 2006; Frisina et al., 2004; Pavlacic et al., 2019; Travagin et al., 2015) and others reporting no improvement in psychological outcomes (Meads & Nouwen, 2005; Reinhold et al., 2018).

There is also a lack of clarity on the boundary conditions influencing the effectiveness of expressive writing, especially for prevalent psychological symptoms like depression, anxiety, and stress. Examining this has implications for emotionally vulnerable and at-risk individuals.

Additionally, recent studies modifying the standard expressive writing protocol necessitate an updated systematic review and meta-analysis to determine the significance, strength, and moderators of expressive writing’s effects.

A meta-analysis can summarize diverse findings, overcome the limitations of small sample sizes, and identify variables contributing to variations between studies (Lipsey & Wilson, 2001).

Therefore, this meta-analysis aimed to examine the direction, magnitude, and moderators of expressive writing’s effects on depression, anxiety, and stress symptoms.

The meta-analysis included thirty-one randomized controlled trials (N = 4012) examining expressive writing’s effects on depression, anxiety, and stress symptoms in healthy and subclinical samples were included. Studies required at least one follow-up assessment.

Data were extracted on study characteristics, sample demographics, intervention features, and outcome measures. Effect sizes were calculated using Hedges’ g.

Random-effects models were used to compute overall effect sizes and moderator analyses were conducted for intervention features such as writing focus, instructions, number and spacing of sessions, topic repetition, and delivery mode. Risk of bias and publication bias were assessed.

The meta-analysis found that expressive writing had an overall small but significant effect (Hedges’ g = −0.12, 95% CI [−0.21, −0.04]) on reducing symptoms of depression, anxiety, and stress in healthy and subclinical samples.

Change score analyses indicated that the intervention effect emerged after a delay, as evidenced by significant effects at follow-up assessments but not immediately post-intervention.

Moderator analyses revealed that the interval between writing sessions significantly influenced the effect sizes.

Studies with short intervals (1–3 days) between sessions yielded stronger effects (Gdiff = −0.18, p = .01) compared to studies with medium intervals (4–7 days) or long intervals (>7 days).

The effects of expressive writing did not significantly differ across other examined intervention features, including the writing focus, instructions provided, number of sessions, topic repetition across sessions, and delivery mode (handwritten vs typed).

Together, these findings provide meta-analytic evidence for a delayed yet durable beneficial effect of expressive writing on depression, anxiety and stress symptoms. The results underscore the importance of scheduling expressive writing sessions at short intervals of 1-3 days for optimal effectiveness.

The consistency of effects across most intervention features suggests expressive writing is a robust and flexible intervention.

This meta-analysis provides compelling evidence that expressive writing is a beneficial intervention for reducing symptoms of depression, anxiety, and stress, with effects that emerge sometime after the intervention rather than immediately.

This delayed effect is intriguing and suggests that expressive writing may initiate a gradual process of emotional processing and meaning-making that reduces distress over time. The finding that spacing writing sessions 1-3 days apart strengthens the effects is a valuable insight for designing maximally effective expressive writing interventions.

Notably, the benefits of expressive writing were consistent regardless of the specific writing instructions, number of sessions, topic repetition, and writing medium. This suggests expressive writing is a flexible intervention that can be adapted to individual preferences while still maintaining its therapeutic effects.

However, questions remain about the mechanisms underlying expressive writing’s benefits and its boundary conditions.

Future research could further examine factors like writing skill, use of emotion words, narrative structure, and participant motivation as potential moderators. Studies should also test expressive writing in clinical samples and as an adjunct to other therapies.

Overall, this meta-analysis positions expressive writing as an evidence-based intervention that can be widely implemented in clinical practice and as a self-help tool.

Its simplicity, flexibility, and durability of effects make expressive writing a highly promising intervention for promoting mental health. More research is still needed to optimize its delivery and uncover its mechanisms of action.

This study had several strengths:

• Focused specifically on symptoms of depression, anxiety and stress
• Included only randomized controlled trials with follow-up assessments
• Analyzed a large total sample size (N=4012)
• Conducted moderator analyses on multiple intervention features
• Provides clear recommendations for optimal interval between sessions

Limitations

However, there were also some limitations with this study:

• Included only healthy and subclinical samples, limiting generalizability to clinical populations
• Did not examine measures of writing content or skill as potential moderators
• Some moderator analyses may have been underpowered due to categorizing continuous variables
• Potential bias from unmeasured moderators like participant expectations and motivation
• Unable to make strong causal claims due to lack of temporal precedence and third variable concerns

Implications

• Expressive writing is an effective intervention for reducing depression, anxiety and stress symptoms, with small but durable effects.
• Expressive writing sessions are optimally spaced 1-3 days apart rather than at longer intervals.
• Expressive writing is a flexible intervention that is effective across variations in writing instructions, dosage, topic repetition, and medium.
• Expressive writing may be incorporated into therapeutic practices as a homework exercise or used as a self-administered intervention.
• The delayed emergence of effects suggests expressive writing initiates a gradual process of adaptive emotional processing and coping.
• More research is needed in clinical samples and to uncover expressive writing’s mechanisms of action.

Primary reference

Guo, L. (2023). The delayed, durable effect of expressive writing on depression, anxiety and stress: A meta‐analytic review of studies with long‐term follow‐ups.  British Journal of Clinical Psychology ,  62 (1), 272-297. https://doi.org/10.1111/bjc.12408

Other references

Frattaroli, J. (2006). Experimental disclosure and its moderators: A meta-analysis.  Psychological Bulletin , 132(6), 823–865.  https://doi.org/10.1037/0033-2909.132.6.823

Frisina, P. G., Borod, J. C., & Lepore, S. J. (2004). A meta-analysis of the effects of written emotional disclosure on the health outcomes of clinical populations.  The Journal of Nervous and Mental Disease , 192(9), 629–634.  https://doi.org/10.1097/01.nmd.0000138317.30764.63

Lipsey, M. W., & Wilson, D. (2001).  Practical meta-analysis . Sage.

Meads, C., & Nouwen, A. (2005). Does emotional disclosure have any effects? A systematic review of the literature with meta-analyses.  International Journal of Technology Assessment in Health Care , 21(2), 153–164.  https://doi.org/10.1017/S026646230505021X

Pavlacic, J. M., Buchanan, E. M., Maxwell, N. P., Hopke, T. G., & Schulenberg, S. E. (2019). A meta-analysis of expressive writing on posttraumatic stress, posttraumatic growth, and quality of life.  Review of General Psychology , 23(2), 230–250.  https://doi.org/10.1177/1089268019831645

Smyth, J. M., & Pennebaker, J. W. (2008). Exploring the boundary conditions of expressive writing: In search of the right recipe.  British Journal of Health Psychology , 13(1), 1–7.  https://doi.org/10.1348/135910707X260117

Travagin, G., Margola, D., & Revenson, T. A. (2015). How effective are expressive writing interventions for adolescents? A meta-analytic review.  Clinical Psychology Review , 36, 42–55.  https://doi.org/10.1016/j.cpr.2015.01.003

White, M., & Epston, D. (1990).  Narrative means to therapeutic ends  ( 1st ed.). Norton.

Keep Learning

Here are some reflective questions related to this study that could prompt further discussion:

• What psychological theories or frameworks might explain why expressive writing reduces distress? What are the “active ingredients”?
• How might you design a study to uncover the mechanisms driving expressive writing’s effects? What mediating variables would you examine?
• What populations or mental health conditions do you think expressive writing could be most beneficial for? How would you adapt the intervention for these groups?
• How would you scale up expressive writing to be widely accessible as a public health intervention? What barriers need to be addressed?
• Do you think expressive writing could have any negative effects for certain people? How would you identify and mitigate these risks?

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Discussions about the writing craft.

Tips for writing strong emotion, especially panic?

One of the pieces of feedback I've been getting frequently from my beta readers is that my characters are too calm during intense or dangerous situations. I do write about what they're experiencing and how it makes them feel, but apparently I'm not conveying the emotions as strongly as the readers are expecting given the circumstances of the plot. I'm a pretty calm person by nature so I realize strong panic-type emotions aren't really that familiar to me, but it's turned into a consistent shortcoming in my writing. Does anyone have any resources, tips, ideas, or exercises for boosting the emotional states of characters?

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KS2 Descriptive Writing - Thunderstorm! PDF

Subject: English

Age range: 7-11

Resource type: Worksheet/Activity

Last updated

24 August 2024

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Great descriptive/creative writing example paragraph - describing a thunderstorm.

Can be used to introduce a descriptive writing activity for pupils.

Also included are notes re: which features to include to make writing more expressive.

Key features include: examples of creative language choices/vocabulary in order to create mood/atmosphere/setting.

Illustrates expaned noun phrases/adverbials/varied sentence structures.

Suitable for KS2.

Further descriptive paragraphs can be found at following:

Erupting Volcano: https://www.tes.com/teaching-resource/resource-12960494 (word doc)

https://www.tes.com/teaching-resource/resource-12984370 (powerpoint)

Abandoned House in Forest:

https://www.tes.com/teaching-resource/resource-12960501 (word doc) https://www.tes.com/teaching-resource/resource-12978017 (powerpoint)

Dragon hunting: KS2 Descriptive Writing Paragraph Model – Dragon! https://www.tes.com/teaching-resource/resource-12959414

Same dragon paragraph as a Powerpoint: https://www.tes.com/teaching-resource/resource-12959437

Also, a resource with ideas of how to make descriptive/creative writing more exciting using figurative language: https://www.tes.com/teaching-resource/resource-12986538

Tes paid licence How can I reuse this?

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