Describe It: Cold Weather, Snow, and Ice

Weather can help or hinder characters on their travels or set a mood (sometime to a cliche level, re: sadness = raining). It also helps us with world building, especially when we take into consideration the type of climate our story’s environment has.

Sometimes, authors just need help finding the words, but beyond that, your story may take place in a coastal town, however you live deep in the prairies and have never seen the ocean. Perhaps your character is in the desert, and you want something a little more nuanced than simply “it was hot and dry”. We’ve got you! In this case, we’ve got you for cold weather.

In this D-Script, like usual, we’ll delve into many subjects related to cold weather. We’ll cover everything from details of the weather conditions themselves, to handling driving (for those of you writing driving scenes in this type of weather), to first aid for cold-related injuries. Basically, anything you might need to write that scene!

Get Around This Post

Related Posts

Writing a winter survival scene? Don’t forget to check out Survival Skills: Surviving in the Mountains which has a lot of cold weather survival tips, even if your character isn’t in the mountains.

This area will fill in the more subjects we’re able to get to.

Cold Weather Conditions

What people perceive as cold weather can vary depending on the part of the world. For example, when I was younger my school band went on a trip to California in months Californians were bundling up. We, being from the Canadian Prairies, thought the weather was wonderful! So, here we were in shorts and t-shirts running into the ocean while the people who lived there stared at us like we’d lost our minds.

Another example would be when we, as Albertans, first go into winter -10°C (14°F) is very very cold. Give it a month and it may be -20°C (-4°F) that’s very cold. After a run of -35°C (-31°F) and that -10°C is positively balmy!

Not every place that experiences ‘cold’ weather experiences snow or ice, because what’s considered cold to some isn’t close enough to freezing temperatures. In this D-Script, we’re predominately dealing with freezing temperatures and colder. That said, some of these descriptions could be used for people experiencing the sensation of coldness. You may just want to skip the snow and ice parts depending on where your story takes place.

Not-So-Fun Fact: During the winter, the temperature may be one temp, but the wind may cause that temperature to feel colder. For example, it may be -20°C (-4°F) outside, but it may feel closer to -35°C (-31°F) because of the wind.

My Personal Gallery of “It’s Obviously Cold Outside”

To help with inspiration and for those of you who don’t live in in places where it’s OBVIOUSLY cold outside, here’s a gallery of my own personal photos that showcase cold weather:

Not-So-Fun Fact: During very cold temperatures, cars may not start. In Canada, block heaters in the engine are a must in most areas. These can be plugged in and keeps the engine and the fluids inside from freezing. Despite common thinking, idling a car to warm up the engine before driving is not necessary. It’s actually best to get moving once the engine is going. Extremely cold weather can also be problematic for electric only cars, not allowing them to charge or even resulting in frozen batteries.

Car Survival Kits Are Recommended, Even for In-City Driving

If you can’t get moving and you may be there for a while, it’s possible your car may run out of fuel to stay warm. This can happen even in the city. If there was a blizzard or very bad weather, tow trucks may take hours to be able to reach you.

BASIC SURVIVAL KIT
Cat Litter /Gravel/Traction Mats: This can help you get unstuck if the problem is ice
Shovel: You may need to dig snow out from around tires if it’s too deep or slushy for the car to move
Blankets/Sleeping Bags/Reflective Blankets: These provide warmth if you’re stranded
Warm Clothing: Extra hats, gloves, socks, and winter coats to layer up.
Flashlight: With extra batteries or a hand-cranked model.
First Aid Kit: Bandages, gauze, antiseptic wipes, pain relievers, and any necessary medications.
Multi-tool or Knife: For cutting, prying, and other tasks.
Tow Strap or Rope: For assistance in pulling your vehicle out of snowbanks or ditches.
Jumper Cables/Booster Kit: To jump-start your car’s battery if it dies in the cold. If you don’t have a full booster kit with battery, this will require another vehicle.
Ice Scraper and Snow Brush: To clear windows, mirrors, and lights.
Cellphone Charger: With a car adapter or portable power bank.
Reflective Vest and Road Markers: To increase visibility to other drivers or rescuers.
Car Manual: For troubleshooting and guidance on your vehicle’s features.
Entertainment: Books, puzzles, or games to pass the time if you’re stranded for a while.

IF TRAVELLING AWAY FROM CITIES
Emergency Food: Non-perishable items like energy bars, nuts, dried fruits, and canned goods with easy-open lids.
Water: Bottled water or a container to melt snow for drinking.
Whistle/Flares: To signal for help if needed.
Map and Compass: In case you need to navigate without GPS or cellular service.
Tire Chains or Winter Tires: Provide better traction in icy or snowy conditions.
Fuel Canister: With extra fuel to keep your vehicle running.
Snow Chains: Particularly useful for navigating hilly or mountainous terrain with icy roads.

If stuck on the road where help isn’t available, stay in the car. Don’t forget to check check the D-Script regarding how to survive in the mountains. This D-Script discusses why staying put can save your life. In this case, it’s partially because exposure is the fastest killer, and the car is at least shelter from the worst of the elements.

Freezing Weather and Windows

We get into things like frost under the ice section, but it should be noted that warm, humid indoor air and freezing temperatures outside can cause condensation to build up on windows, especially if they’re older or otherwise poorly insulated. This can cause windows to freeze over, making it difficult to open them, if they can be opened at all. It can also cause windows to be more brittle than you’d expect. I once had a bed under a window and was very sick. My boyfriend at the time tried to open the window for fresh air for me. He tapped it with his hand, and it exploded! Thankfully, nothing got in my eyes.

Snow

If you don’t live where there’s a lot of snow or don’t experience it that often, you may not be aware there are types of snow. Being a Canadian from a snowy province, I would be remiss to now talk about this, so…let’s talk snow!

Snow forms at a specific temperature range. That is, if it’s too warm, it comes down as rain. If it’s too cold, it is likely not to snow at all as it’s too cold for precipitation to gather. The process of snow formation involves the crystallization of ice crystals within a cloud, and the temperature plays a crucial role in determining the form of precipitation.

For snow to occur, the temperature range will typically be -10°C to 0°C (14°F to 32°F). You can see snow in colder temperatures, but it is less likely the colder it gets. For example, when temperatures drop well below freezing, such as below -40°C (-40°f), the air is too cold for significant moisture thus it’s unable to form snowflakes.

DID YOU KNOW: Heavy snow, especially during a sudden cold snap or extreme cold, can cause not only tree branches to break off but can also fell trees. After heavy snow, you’re likely to see heavily bowed branches, or the ground sprinkled (or covered even) in everything from twigs to huge branches. Pictures in the gallery above.

DRY SNOW
Dry snow has a low water content, and the snowflakes are typically small and powdery. It feels light and fluffy, and individual snowflakes may not stick together easily.

  • Light and airy
  • Powdery or granular texture
  • Often associated with colder temperatures
  • Good for activities like skiing and snowboarding
  • Doesn’t pack so isn’t good for snowballs or snowmen
  • Dry snow is less tricky to drive on as it can provide traction on ice
  • Can sound like Styrofoam when stepped on, giving off a squeaky sound

WET SNOW (PACKING SNOW)
Wet snow has a higher water content, and the snowflakes tend to be larger and clump together more easily. It can have a heavier and stickier consistency. Wet snow is the type of snow that will get on your clothes and in your shoes, melt, and you to get wet.

  • Heavy and compact
  • Sticky and good for snowball making
  • Often occurs when temperatures are closer to the freezing point
  • Can create a wet and slushy layer on the ground
  • Depending on how wet this snow is, it may make squishing noises underfoot
  • Footwear may easily get wet

SLEET
Sleet happens when rain freezes into ice pellets before reaching the ground, but isn’t as severe as hail, which we’ll talk about later

  • Often a mix of ice pelts, rain and/or snow
  • Small ice pellets hard enough to bounce on the ground
  • Can make the ground slippery, making travel more difficult


Blizzard

Blizzards are severe winter storms characterized by strong winds, heavy snowfall, and reduced visibility. These intense weather events pose significant hazards to both human life and infrastructure, making them one of the most dangerous and disruptive forms of winter weather. They cause strong sustained winds and significant visibility reduction due to blowing snow. They typically last for several hours. However, depending on the size and intensity of the storm system, they can last days.

Blizzards can have a wide range of impacts, including transportation issues, power outages, and damage to buildings and infrastructure. High winds can cause drifting snow and whiteout conditions, making travel extremely hazardous and leading to accidents and road closures. In rural areas, blizzards can strand motorists, posing serious risks to their safety.

In addition to their immediate dangers, blizzards can also have long-term consequences, such as avalanches, flooding from snowmelt, and damage to crops and livestock.

Communities in snowy areas have strategies to deal with snow accumulating during blizzards, such as snowplowing, salting roads, and closing schools and businesses. They may have “Snow Angel” programs which ask people to shovel the walks of their neighbours with potential mobility concerns.

Snow Squall

A snow squall is a sudden and intense burst of snowfall that comes with rapidly changing weather conditions and reduced visibility. These storms are often associated with strong winds and plummeting temperatures. Snow squalls can develop quickly and catch travelers off guard, creating hazardous driving conditions.

Snowstorms

Snowstorms vary in intensity, from light flurries to heavy snowfall and blizzard conditions, impacting transportation and daily life.

Communities in snowy areas have strategies to deal with snow accumulating during snowstorms, such as snowplowing, salting roads, and closing schools and businesses. They may have “Snow Angel” programs which ask people to shovel the walks of their neighbours with potential mobility concerns.

Snow Showers

Snow showers are brief bursts of moderate to heavy snowfall and are often accompanied by strong gusts of wind and reduced visibility. Unlike flurries, they bring more substantial accumulations of snow. Their intensity can vary, from light dustings to more substantial accumulations, depending on factors such as temperature, moisture content, and wind speed.

Flurries

Snow flurries are brief, light snow showers that have little impact on daily life. Unlike snowstorms, flurries typically last for short durations and produce minimal accumulation on the ground. These fleeting events often herald changing weather patterns, signaling the arrival of colder temperatures or the transition from autumn to winter or winter to spring.

Snow and Driving

There have been requests for how to write about driving, so I’m trying to add driving tips all through the posts about weather and similar.

Snow on the ground causes difficulty for drivers (GASP! I know that’s a surprise), the level of which is dependent on multiple factors. For example, dry snow is easier to drive in than wet snow as the powdery texture can create traction on ice. Wet snow, on the other hand, causes a lot of slipping, especially if it turns into slush or there is ice underneath. Either way, tires create friction with the ground, melting snow just a little bit. The cold weather then turns that melt into ice. As a result, the more cars that travel over the snow, the more likelihood ice will form. Another way this happens if the daytime temperatures get to a level where the snow turns to slush or melts but then freezes again as the weather turns colder when the temperature drops (such as incoming colder weather or nighttime temps).

In places used to snow, all-weather or snow tires are a must during the snowy seasons. Some places even mandate winter tires! Other devices are available to help people navigate the snow although some can be detrimental to concrete and there may be restrictions placed on used. These devices include snow chains, snow socks, studded tires, tire chains with cables, or traction mats that can be placed under tires that are slipping to help them get out of situations where the car gets stuck due to depth of snow or ice.

Fallen and accumulating snow can also make it hard to see where parking spots are (leading to hilariously bad parking), where lanes are, or even where the road is.

Deeper snow can make it difficult to get a car moving, as it will be trying to push through the snow without a lot of traction to help. Often when there’s been a big dump of snow, people get stuck at home.

When snow first hits the ground, especially in early winter or following warmish weather, it will melt on cement first. This is because the ground and cement are warmer than the snow. Once the cement and the ground beneath have had time to cool down, the snow is more likely to accumulate. What many drivers don’t take into account is that the original melt has turned into a thin sheet of ice.

Snow also causes problems for drivers as it’s falling. The most obvious example is “white out” conditions. That is when there’s enough snow in the air – be that number of flakes, size of flakes, or both – that you can’t see far. Sometimes, not even being able to see more than a few feet.

There’s also the “I need the heat on full blast, but I’ll have to open my window to not overheat” game. Snow will melt on the windshield because it’s warmer in the car than outside (there’s a pic in the gallery at the beginning of this post). If cold enough (think -20°C [-4°F] – I’m pulling that number out of my memory from about a month ago) the melt will freeze and begin to ice up the windshield. If you don’t turn heat on and direct it at the windshield, your wiper blades will wipe the moisture all over the place where it will freeze and make things infinitely worse. By you can’t turn the blades off or it’ll get infinitely worse too. So, you play the game of overheating yourself, forcing you to open the window a crack, so your windshield doesn’t freeze over and you can see outside.

Fun fact: the wiper blades will pile the partially melted snow up at the end of its sweep where it will freeze, and the pile will get larger and larger and larger, reducing the area of visibility)

Othe Snow-Related Phenomenon

SLUSH
Slush is found on the ground or other surfaces. It’s a mix of snow and water that is near the freezing point. It is the result of melting and refreezing snow.

  • Wet and can be clingy
  • Slippery
  • Difficult to walk in
  • Difficult to drive in
  • Will soak through footwear that isn’t waterproof

CRUSTY SNOW
A crust of sorts can form on snow when the top layer melts and freezes. This creates a hard, brittle, and icy crust that can potentially, briefly, hold weight

  • Crust is often thin
  • Breaks a bit like glass, without the noise
  • When strong enough to temporarily hold weight before breaking, can make walking difficult





Other Snow-Related Stuff

  • Snow is insulating! That’s why when you want to survive in the mountains, you can build a shelter out of snow! Just don’t sleep directly on it. In that link above, we cover that.
  • Snow is insulating…wait…this time I mean for sound. Freshly fallen snow absorbs sound waves, giving winter landscapes a quieter, more peaceful ambiance.
  • On sunny days where there is snow on everything, or even just on the ground, the reflection of light coming off snow-covered surfaces can be blinding.
  • Snow accumulation, if enough, can cause roofs to collapse. Especially places with flat roofs should be extra careful to get rid of snow before it gets too deep.
  • Thundersnow! Snowstorms can produce lightning and thunder. It’s not common, but it can happen.
  • In survival situations, eating snow is a terrible idea. One of the things that can kill you faster than dehydration is exposure to the elements. Eating snow brings down the body temperature fast, which your body will already be trying to keep up. If needing water, it’s advised to melt the snow first and warm it up lest you increase your chances of hypothermia.

Want to see a map that shows a month-to-month snow cover on the globe? Head to the NASA Earth Observatory site by clicking the link or image below. It should be considered that we’re now seeing impacts on snow cover due to climate change. Some areas that typically get snow during certain months are seeing a reduction in snow cover, whereas for the last decade (ish), places that rarely see snow or never do are seeing it.

Ice

Ice forms wherever there’s water that drops below the freezing point. This can be everything from snow melt to the pipes in your house to waterfalls! If a house is going to be unoccupied during the winter in a cold climate, it should be winterized first to prevent pipes from freezing and bursting. Even then, it’s not always a guarantee. Pipes in buildings or in the streets can also burst if the temperature drops too quickly, especially if the pipes are older.

Types of Ice

FRAZIL ICE
Frazil ice consists of loose, randomly oriented ice crystals that form in turbulent water. It can pose hazards to ships by reducing maneuverability and causing ice accretion on hulls.

NILAS ICE
Thin, elastic, and greasy-looking ice that forms on calm or nearly calm water. It can be easily deformed by wind and waves and is often found in the early stages of ice formation.

SHUGA ICE
A mixture of snow and ice formed from the accumulation of snow on ice floes. It can create hazardous conditions for travel, as it may conceal thin ice beneath the snow layer.

PANCAKE ICE
These are circular pieces of ice with raised edges that collide and merge to form a larger ice sheet. It often forms in areas of turbulent water with significant waves, such as in the ocean or along coastlines

BRASH ICE
Small fragments of ice that result from the breaking up of larger ice formations. It can pose navigation hazards, particularly for ships operating in ice-infested waters.

GROWLER ICE
Small, floating pieces of ice that are less than 1 meter in diameter and may be difficult to detect. Growlers pose a significant hazard to ships, as they can damage hulls and propulsion systems upon impact.

ICEBERGS
Large masses of ice that break off from glaciers or ice shelves and float freely in the ocean. Only about one-tenth of an iceberg is visible above the waterline, making them dangerous obstacles for ships.

PACK ICE
A dense aggregation of floating ice floes that cover large expanses of the ocean surface. It can vary in thickness and density, posing challenges for navigation and maritime operations.

FAST ICE
Ice that is attached or anchored to the coastline or seafloor, preventing it from drifting with ocean currents. It serves as a stable platform for wildlife and human activities such as fishing and transportation.

PRESSURE RIDGE ICE
Pressure ridge ice forms when large ice floes collide and are forced upward, creating ridges and hummocks of ice. These features can be several meters high and pose challenges for navigation, particularly for ships operating in ice-covered waters.

GLACIERS
Massive bodies of ice that form over prolonged periods through the accumulation and compaction of snow. They are often likened to “rivers of ice” though they move veeery slowly (generally). You can learn more about them over at our D-Script on how to describe mountains.

Icy Phenomenon

Black Ice

Black ice is a thin, nearly invisible layer of ice that forms on paved areas. It forms when moisture from rain, sleet, or melting snow freezes on cold pavement, creating a transparent or translucent layer of ice. Black Ice, like ice in general, can be dangerous. However, with black ice you rarely see it until you’re sliding. It may give off a slight glossy appearance, shimmer, or reflect light, but not necessarily.

Note, though it is called black ice, it isn’t black.

Diamond Dust

This pretty phenomenon is composed of slowly falling, tiny ice crystals. It typically occurs in clear, cold conditions when the temperature is well below freezing. The ice crystals hang suspended in the air, creating a fog-like or haze-like appearance. Despite the name, diamond dust doesn’t necessarily sparkle like diamonds, but it can create a beautiful shimmering effect in the sunlight.

The image to the left shows an example of sundogs that can appear in diamond dust.

Sun Dogs

This optical phenomenon creates bright spots of light on either side of the sun which can appear as patches of rainbow. They’re caused by refraction of sunlight passing through ice crystals in the atmosphere, typically from high-altitude cirrus clouds. They’re commonly observed when the sun is low on the horizon, such as during sunrise or sunset. Sun dogs may show up as rainbows on opposing sides of the sun, or they may form a full circle.

Freezing Rain

Freezing rain occurs when raindrops fall through a layer of cold air near the ground and freeze upon contact with objects such as trees, roads, and power lines. This rapid freezing creates a glaze of ice, known as “glaze ice” or “ice glaze,” which can accumulate on surfaces and create hazardous conditions. Freezing rain often coats surfaces with a slippery sheen, making roads and sidewalks treacherous for both pedestrians and drivers. The weight of accumulated ice can also lead to power outages and damage to trees and structures. While freezing rain can create stunning landscapes encased in ice, its beauty is often overshadowed by its potential for disruption and danger.

Frost

Frost is a thin layer of ice that forms on surfaces when water vapor in the air comes into contact with a solid surface at temperatures below freezing. It often appears as delicate, intricate patterns resembling lace, coating objects such as grass, leaves, and windows. Frost can occur in various forms, including:

  1. Hoar Frost: Hoar frost forms when water vapor in the air directly transforms into ice crystals on surfaces, skipping the liquid phase. It often appears as feathery or spiky crystals and is commonly found on cold, clear mornings.
  2. Rime Frost: Rime frost forms when supercooled water droplets in fog or clouds freeze upon contact with surfaces. It creates a thicker, more opaque layer of ice compared to hoar frost and is often found on objects exposed to freezing fog or high winds.

Frost can be relatively easy to remove from windshields or it can be VERY difficult to remove. People may choose to idle their cars to bring the heat up inside and partially melt the frost. People in areas where frost is seen often have special tools to scrape the frost. In the event they don’t, objects like bank cards help!

The first frost of the year often kills delicate plants. On the other hand, the first frost can actually improve the flavour of certain food crops such as some berries, kale, garlic, carrots, etc. The last frost of the year is also a marker for when to plant most plants in a home garden. However, that can be a bit tricky to guess at, especially with climate change shaking everything up.

Hail

Hail can range from tiny pellets to baseball-sized, but the largest one recorded was bigger than a bowling ball! Imagine that hitting anything but the ground…yeee. Small hail typically hurts, and by small I mean pea-sized. Anyhow, hail can be smooth or pointed, looking like a tiny frozen explosion, or can be round.

A few years back, we had hail so intense and large that car dealerships lost a LOT of cars. Now, many dealerships cover their stock on the lot. Getting caught in one of these major hailstorms is a bit terrifying. There was one where I had my under-10 son in the car with me. The hail got so bad I could barely see past the hood of my car. Inside, it sounded like I was in a battle. It was so loud! I was able to creep forward and get under some cover in time to avoid serious damage, but the car did have a bunch of moderately sized dents after. Believe me when I say that trying to keep a kid from freaking out while you’re expecting hail to shatter your windshield at any moment is not a situation I’d like to repeat.

Hail is associated with severe weather, including tornadoes. It is not neccessarily reliant on “cold” temperatures. Major storms can come with massive clouds where that hail forms high enough up in the atmosphere then plummets down.

Ice Fog

Ice fog is a type of fog composed of tiny ice crystals suspended in the air. It occurs in extremely cold conditions when water vapor in the air freezes directly into ice crystals without first condensing into liquid droplets. Ice fog is most common in polar regions and during periods of very cold temperatures, typically below -30°C (-22°F). It often forms in valleys and low-lying areas where cold, dense air becomes trapped and unable to mix with warmer air above. Ice fog can reduce visibility and create hazardous driving conditions, particularly in areas with a lot of air pollution.

Ice Needles

The ice that forms on lakes and when touched feels like shards is typically called “needle ice” or “frost needles.” Needle ice forms when water from the lake seeps upward through cracks or pores in the ice surface and freezes upon contact with the cold air above. As more water is drawn up and freezes, thin, elongated columns of ice, resembling needles or shards, develop on the surface of the existing ice layer.

These needle-like structures can range in size from a few centimeters to several inches long and may be delicate and fragile to the touch. They often appear in clusters or patches on the surface of the ice.

Icicles

Icicles are elongated, tapering formations of ice that hang from surfaces such as roofs, tree branches, and cliffs. They form when water freezes as it drips from an elevated surface, gradually building up layer by layer (like stalagmites and stalactites). Icicles can pose hazards when they fall, making them both beautiful and potentially dangerous. In cities, one might find “danger: falling ice” signs in the downtown areas where buildings are taller.

As clean and cool as these may look, don’t eat icicles. They’re often filled with dirt and debris that’s not immediately visible. For example, in the picture there, the icicles would be full of whatever was on the roof at the time of the melt.

Ice and Driving

Driving in icy conditions requires caution, patience, and preparedness to ensure safety. The first step is of course to drive slowly and carefully. Slowing down not only increases reaction time but decreases the chance of losing control of the vehicle. Funny enough, if possible and responsible, try to avoid stopping, even if the car is only moving extremely slowly (say you’re approaching a red light, slowing to a crawl well in advance). It’s harder to get started moving on icy roads than to continue along.

When driving on ice, increasing the distance between your car and the car in front is a must. You should increase it further if going down even a slight hill. It’s also a good idea to stop a little further away from the place you want to stop than you usually might. This may allow you to pull forward or into another lane if the car behind you looks like it’s not going to stop in time.

Avoiding abrupt movements is a must if you want to stay in control of your car, which includes braking slowly.

Finally, watch for black ice, leave the house with lots of extra time, and stay well back from snowplows. Snowplows will either drop gravel or ‘pickling’ on the road which will decrease the melting temp of ice, keeping it from forming. Most cities will try to get snowplows out the night before snow, but this isn’t always possible and covering large cities completely takes a lot of time. They’ll focus on busy streets and slowly work their way down to bus routes. They often do not hit side streets.

How to Stop Skidding and Spinning

Skidding and even spinning may be inevitable if you’re driving on icy roads even if you follow all the advice above. Skids are usually short but may not be. If you aim toward the snow, this will increase your chances of stopping skidding as the snow provides traction. In cars without antilock brakes, you need to pump the brakes gently, but most cars have antilock brakes nowadays. In this case, you apply steady, even pressure. It may not be possible to stop skidding if the ice is everywhere.

But what about a spin? Well, staying calm is the first step as panic stops you from thinking clearly. Next, you’ll want to steer into the spin, turning the steering wheel in the direction your back tires are spinning. Most people will try to turn against the spin to correct their course. This is not advised and increases the chance of flipping the vehicle. It’s also important not to overcorrect. Remember the advice that you don’t want to make sudden movements. So, no sharp steering and no slamming on brakes.

Finally, look where you want to go.

How to Get Moving When Stuck

First things first, any accelerating done needs to be slow. No sharp movements.

If tires are spinning without finding traction, aim toward the snowy areas, as snow provides traction. You can also try rocking the car back and forth (gas petal, release, gas petal release, or drive, reverse, drive reverse). You can use ice melt, cat litter, or other gravelly materials around your tires to provide traction to get started. Other options may be anything under the tires that could provide traction (if front wheel drive, in front of the front tires. If rear wheel drive, in front of the back tires). This could be mats, planks of woods, etc.

If there is someone else in the car, they can get out and push the back of the car while the driver tries to slowly accelerate. This may be more difficult if the ground is icy though, as they’ll slip.

If on the road and stopped at a red light, avoid getting out of the vehicle. Afterall, everyone else is having trouble as well and the car will protect you. Again, you can aim toward the snowy parts of the ground and even try turning off traction control which may complicate things in some cases.

Finally, if all else fails, calling a tow truck is the way to go. This could take a while. You’re likely not the only one stuck. For this reason, even car survival kits for the city come in handy.

Additional Tips for Icy Conditions

Keep a Safe Following Distance: Maintain a safe distance from the vehicle in front of you to allow for increased stopping distance in slippery conditions.
Use Chains or Winter Tires: Consider using tire chains or winter tires for enhanced traction in icy conditions.
Drive in Low Gears: Use lower gears when driving on icy surfaces to reduce the risk of skidding.
Know When to Stay Put: If conditions are extremely hazardous, consider delaying your trip until the roads are safer. Staying put in severe weather is often the safest choice.

Ice on Lakes and Rivers Can Be Dangerous!

While frozen bodies of water may appear fun, they conceal hazards that pose serious risks to anyone venturing onto them. Falling into frozen lakes and rivers can be more dangerous than it seems.

There are things such as not being able to see where the break in the ice is, but also there’s the instinctive reaction we have to sudden submersion in icy water. The cold shock response can cause an immediate gasp reflex (rapid, involuntary inhalation) which increases the chances of drowning. It also increases the heart rate, blood pressure, and surges adrenaline, causing us to require more oxygen…which we can’t get because we’re underwater. Eventually, the body will force the person to breathe…but we won’t get air, just water.

Hypothermia is another major risk. This is where the body temperature begins dropping because it can’t generate heat fast enough. This causes shivering, confusion, numbness, loss of coordination, and drowsiness. In severe cases, it can cause cardiac arrest and death. The risk for hypothermia continues when the person is out of the water and proper treatment of hypothermia needs to be started as soon as possible. This involves gradually bringing the temperature of the body up. This involves removing the wet clothing and wrapping the person in dry blankets or clothing to prevent heat loss. Rewarming measures could include heat packs, warm blankets, sharing of body heat, getting near a fire, etc. It’s important to note that this needs to be done gradually. A sudden change from freezing to warm can cause the person to go into shock, which can trigger cardiac arrest (heart attack) or other problems.

But to treat hypothermia, one must be out of the water! Just getting to a person who has dropped into the water can be difficult. If the current underneath hasn’t swept the person away, they are holding onto fragile ice. It’s highly likely a rescuer will fall in as well. Rescuers should immediately call for professional help, but a few things that can be done if the situation can’t wait or there are no emergency services to respond (or lack of phone signal to contact them), would be to lay down on the ice to distribute body weight, and find something to throw that the person can hold onto – think branch attached to rope, a spare tire attached to a rope, etc. The person can then be pulled out of the ice without making the situation worse.

Thin Ice

Ice thickness can vary depending on factors such as temperature, snow cover, and water currents. Even seemingly solid ice can be dangerously thin in areas, particularly near shorelines, inlets, outlets, and areas with moving water. Walking, skating, or driving on thin ice can lead to breakthroughs and falls into icy water.

Unpredictable Conditions

Ice conditions can change rapidly, especially during periods of fluctuating temperatures or heavy snowfall. A layer of snow on top of ice can insulate it from freezing or create weak spots, making it difficult to assess ice thickness and stability. What may seem like safe ice one day may become treacherous the next, as thawing and refreezing cycles weaken the ice and compromise its integrity.

Currents and Underwater Obstacles

Moving water beneath the ice can weaken it and create thin spots or open patches known as “air holes.” These areas are particularly hazardous, as they may not be visible from the surface and can pose a drowning risk if someone falls through. Underwater obstacles such as rocks, logs, and vegetation can also weaken ice and create hazards for unsuspecting individuals traveling on or near the ice. As mentioned above, under ice currents can also sweep a person away. Staying afloat isn’t an option because the ice prevents them from doing so.

Cold Weather Skies

I wanted to touch briefly on the skies during cold weather when it comes to snow and ice. We already discussed sun dogs, diamond dust, etc. but there is one type of cloud cover I wanted to acknowledge, that is the white sky!

Though during freezing temperatures, the sky can be crystal clear or look like it does any other time of the year (at least for writing purposes) sometimes the sky becomes covered in a sheet of white cloud. It will stretch from horizon to horizon. This can cause the world to seem very monotone. The sky is white. The ground is white. Skeletal trees are white with black looking branches and trunks…It’s as equally beautiful as it is weird. Having lived around this my whole life, I still note it from time to time. The world seems desaturated.

The cloud cover can be uniform or can vary in thickness. Sometimes on these days you can’t see the sun at all, though it is bright enough outside. Other times, you might see a glowing yellow orb in the sky. A perfect, blindingly bright circle (it’s still not advised to look at it).

Cold Temperatures and the Human Body

That character of yours may be on an epic trek, facing sudden freezing weather or otherwise caught in weather that can be dangerous!

First, the basics! There’s moist cold and dry cold. The first happens when there’s high humidity levels, which is less likely on top of mountains and more likely at lower elevations. Moist cold can feel like it penetrates the body deeper, a bone-deep cold, even when the temperature isn’t very low. Whereas dry cold can happen just about anywhere depending on the amount of humidity in the air and feels crisp and sharp, drying out the skin.

Sun exposure can also change the way cold weather affects the body. If there’s snow everywhere, that snow is reflecting the sun, increasing the chances of sunburn dramatically. People venturing out should be prepared with sunglasses, sunblock, and protective clothing.

DID YOU KNOW? Being cold does not make you sick! So, why do people appear to get sick more often in the winter? During colder months, people tend to spend more time indoors in close proximity to others, increasing the likelihood of person-to-person transmission of viruses, especially since the air indoors often isn’t filtered or isn’t filtered well enough to get rid of viruses. Dry indoor air also impacts us by irritating the mucous membranes of the respiratory tract. Many respiratory viruses can actually survive longer in cold, dry conditions. This includes the common cold and flu viruses. Arguably, it may be easier to catch viruses during these times due to a suppression of the immune system.
Scientists Finally Figure Out Why You’re More Likely to Get Sick in Cold Weather

Now, let’s dive into some other effects on the human body.

Freezing Breath (seeing your breath): Maybe not an effect on your body, but your body affecting the environment. In cold temperatures, the air coming from the nose and mouth can basically form into little streams of clouds. The thickness of these clouds depends on how cold it is, but they dissipate quickly once in the air.

Frozen Eyelashes and Facial Hair: Moisture in the air from breathing can freeze on not only protective clothing breath passes over, but also on facial hair, including eyelashes, causing frost to form. With eyelashes, it can cause them to try to stick together or can cause mascara to run, even the waterproof stuff!

Frozen Hair: If you go out in freezing temperatures with wet hair, that hair can freeze stiff! Long hair can basically become a frozen mat.

Rosy Cheeks: To keep exposed skin warm, the body will send extra blood flow to areas that are cold. This very commonly leads to rosy cheeks in cold weather.

Runny Nose: Cold weather can cause the nose to become runny as the body produces more mucus to protect the nasal passages and warm air from the lungs causes condensation. This can result in moisture and mucus dripping from the nose. In more fun news, if not caught in time, moisture and mucus can freeze to the face or get into protective clothing like scarves and other face coverings.

Dry Nose: Alternately, lack of humidity in the air can cause the mucous membranes in the nose to dry out. This can cause a tight, uncomfortable sensation in the nose as the moisture there dries out and creates flakes of mucus. Some people will get nose bleeds during this time.

Shivering and Teeth Chattering: One of the body’s first defense mechanisms to being cold is to start shivering. This usually starts happening when the cold is getting a little more than skin deep. You may be able to control the shivering, but it will eventually become involuntary. Part of shivering includes the teeth chattering. Basically, your jaw starts shivering and starts clacking your teeth together.

Cold Hands, Toes, and Nose: Some of the first places on the body to experience uncomfortable levels of cold are the fingers, the toes, and the tip of the nose!

Snow Blindness: As mentioned before, the sun reflects off snow very easily. During the winter, all that reflection can make it hard to see, especially on a bright and sunny day! This will be increased in people with light coloured eyes. (I have both green eyes and light sensitivity known as photophobia, so winter is a tonne of fun for me!)

Cold Air Shock: It’s a common reaction when transitioning from a warm environment to a cold one, especially if the temperature difference is significant. Cold air shock can cause a momentary constriction of the airways, leading to a feeling of breathlessness or difficulty breathing. This sensation typically resolves quickly as the body adjusts to the colder temperature.

Cold-Induced Asthma: When someone experiences asthma symptoms triggered by exposure to cold air, it’s often referred to as “cold-induced asthma” or “cold air-induced asthma.” This condition is where physical activity or exposure to cold air triggers asthma symptoms such as coughing, wheezing, chest tightness, and shortness of breath. Cold-induced asthma can be managed with appropriate medications and preventive measures, such as using a scarf to cover the mouth and nose in cold weather or using a bronchodilator inhaler before exposure to cold air.

Cold-Induced Coughing: This type of coughing can occur in individuals with sensitive airways, such as those with asthma or bronchial hyperreactivity. Cold air can irritate the airways, leading to coughing as a protective reflex to clear the air passages. Cold-induced coughing is often temporary and resolves once the individual is no longer exposed to the cold air.

Hypothermia: This is where the body temperature begins dropping because it can’t generate heat fast enough. This causes shivering, confusion, numbness, loss of coordination, and drowsiness. In severe cases, it can cause cardiac arrest and death. Risk for hypothermia continues when the person is out of the water and proper treatment of hypothermia needs to be started as soon as possible. This involves gradually bringing the temperature of the body up. This involves removing the wet clothing and wrapping the person in dry blankets or clothing to prevent heat loss. Rewarming measures could include heat packs, warm blankets, sharing of body heat, getting near a fire, etc. It’s important to note that this needs to be done gradually. A sudden change from freezing to warm can cause the person to go into shock, which can trigger cardiac arrest (heart attack) or other problems.

Frostbite: Frostbite occurs when the skin and underlying tissues freeze due to exposure to cold temperatures. Symptoms of frostbite include numbness, tingling, pain, and discoloration of the affected area, typically the extremities such as the fingers, toes, nose, and ears. Severe frostbite can cause tissue damage and permanent injury, leading to gangrene, necrosis, and the need for amputation in extreme cases.

Before frostbite occurs, individuals may experience a painful, tingling sensation known as frostnip. Frostnip is an early warning sign of frostbite and indicates that the skin is beginning to freeze. It is characterized by redness, numbness, and a burning or stinging sensation in the affected area. If not addressed promptly, frostnip can progress to frostbite. I’ve never had frostbite, but I have expereinced frostnip. It’s…disconcerting…to be freezing your butt off and suddenly have your skin burning like it’s too close to a fire!

Ideally, a person will get out of the cold before frostbite occurs. But what about after? The person should get to warmth and be treated much like hypothermia. Additional steps could be gently rewarming the affected area by immersing it in lukewarm water or using warm compresses. One should avoid rubbing or massaging the area, as this can cause further tissue damage, and elevate the affected area and cover it with dry, sterile dressings. And, of course, seek medical attention promptly.

Windburn: This is a skin condition that occurs when exposed skin is subjected to cold temperatures and windy conditions for an extended period. The cold air draws moisture away from the skin, while the wind accelerates evaporation, leading to dehydration and dryness of the skin’s outer layer. It often resembles sunburn and will typically appear within a few hours of exposure. Common symptoms include redness, irritation, dryness, and a sensation of tightness or burning on the affected skin. If severe, windburn can cause blistering, swelling, and peeling of the skin, particularly in areas exposed to prolonged wind exposure, such as the face, hands, and lips.

Animals and Cold/Snowy Weather

This one will be brief, but a lot of animals that live in cold climates have evolved to deal with it or may just leave until it warms up again (migration). Some animals, such as wild rabbits and hares, lose their brown coats and grow in thicker, multi-layered white fur. This fur often has a fluffy undercoat and longer, more coarse hairs. This helps keep them warm and helps with camouflage. Birds may fluff up their feathers, appearing more ball-like. While other animals may put on stores of fat and may hibernate (bears and squirrels, for example). Generally, the animals staying around during colder months conserve as much energy as they can by reducing movement because food is more scarce.

Snow can show the passage of animals as well as their feet leave prints in the snow. This could be bird tracks to bear tracks! Small rodents may burrow through the snow, paths that become evident when the snow caps over these paths melt.

Foods Available During Winter Months

The same energy conserving behaviours animals show can be seen historically in people who lived in cold weather environments where food sources may be more scarce during winter months. If you’re writing historically, you’ll want to consider that people would avoid big, long treks during the winter except if absolutely necessary or to hunt. Their access to the same foods we have (if they existed as many fruits and veggies have been created over time) were limited to what could be reasonably stored.

Let’s talk briefly about what foods humans would eat when food couldn’t be grown due to cold weather.

Root Vegetables: Root vegetables such as potatoes, carrots, turnips, and beets were harvested in the fall and stored in cool, dark cellars or root cellars. These vegetables could last for several months without spoiling, providing a reliable source of carbohydrates and nutrients during the winter.

Winter Squash: Varieties of winter squash like butternut squash, acorn squash, and pumpkins were harvested in the fall and stored in a cool, dry place. Their hard outer shells help protect them from spoilage, and they could be used in soups, stews, and roasted dishes throughout the winter.

Cabbage: Cabbage was a popular winter vegetable that could be stored for several months in a cool, humid environment. It may also be pickled for saurkraut or kimchi.

Apples: Apples were harvested in the fall and could be stored for several months in a cool, dark cellar. They were often wrapped individually in newspaper or stored in wooden crates to prevent them from spoiling too quickly. Apples could be eaten fresh or used to make applesauce, pies, and other baked goods throughout the winter.

Dried Foods: People dried various foods such as fruits, vegetables, meats, and herbs to preserve them for the winter. Drying foods removes moisture, inhibiting the growth of bacteria and fungi that cause spoilage. Dried foods could be rehydrated and used in soups, stews, and other dishes.

Cured Meats: Meats such as bacon, ham, and sausages were cured and smoked to preserve them for long periods. Cured meats could be stored in cool, dry environments and provided a valuable source of protein during the winter months.

Grains and Legumes: Grains like wheat, barley, and oats, as well as legumes like beans and lentils, were harvested in the fall and stored in dry conditions. These staples provided essential nutrients and energy during the winter and could be used to make bread, porridge, and other hearty dishes.

Additionally…

Storing foods through methods like pickling dates back thousands of years, with evidence of pickling found in ancient civilizations such as Mesopotamia and Ancient Egypt. Pickling was primarily done to preserve foods for longer periods, especially during times of abundance for consumption during scarcity.

The process of pickling generally involves submerging foods in a brine solution containing salt, vinegar, and various spices or herbs. The acidity of the vinegar and the salt in the brine create an environment that inhibits the growth of bacteria, preserving the food. The pickled foods are stored in airtight containers such as jars or crocks and kept in a cool, dark place to prevent spoilage.

Common foods that were traditionally pickled include cucumbers (to make pickles), cabbage (to make sauerkraut), beets, onions, peppers, and various fruits.

Describe It: Cold Temperatures, Snow, and Ice

Finally, what you’re most likely here for! In this section we’ll go over how to describe much of what’s above, but definately not all of it! Make sure to check out each section for factual information on stuff you don’t see down here, or if you really want something, leave a comment below.

Remember, try to avoid large dumps of information when writing out descriptions of scenery. Remember to show, don’t tell. Try to portray it through the eyes of a character, but also give it purpose. Let’s look at that with some examples of writing below

THE INFO-DUMP

The small town of Frostwood was nestled in a valley surrounded by towering snow-covered mountains. The air was frigid, with temperatures hovering just below freezing. The sky was overcast, casting a dull gray hue over the landscape. The ground was blanketed in a thick layer of pristine snow, glistening under the weak winter sun. Icicles hung from the eaves of the buildings, shimmering in the cold breeze, and a layer of frost covered everything, giving the town an ethereal, otherworldly feel. Bare trees stood skeletal against the wintry backdrop, their branches laden with snow. Despite the bitter cold, life in Frostwood went on, with the townsfolk going about their daily routines, bundled up in layers of warm clothing to ward off the chill.

AVOIDING THE INFO-DUMP

As Jack trudged through the snow-covered streets of Frostwood, he shivered at the biting cold. His breath came out in clouds of white vapor, hanging in the air before dissipating against the brilliant blue sky. He pulled his coat tighter around him, the frosty air seeping through the fabric and chilling him to the bone.

“Can you believe how cold it is today?” Jack remarked to Sarah as she walked beside him, her cheeks flushed pink from the cold.

“Yeah, it’s freezing,” Sarah agreed. “But at least the snow makes everything look so beautiful.”

Jack nodded, glancing around at the pristine white landscape. “Small comfort when my toes are freezing off, but it is stunning today.”

He had to admit that he admired the beauty of Frostwood in the winter. The snow-covered mountains, the icy streams, the frosted trees—it was all so magical.

Snow

Many words under sounds are relevant to walking on snow and snowstorms. Snow, being an insulator, does dampen (muffle) sound much like sound-dampening panels in a studio.

SIGHT

  • Pristine
  • Glistening
  • Sparkling
  • Blanketing
  • Drifting
  • Glittering
  • Soft
  • Fluffy
  • Powdery
  • Frosty
  • Crisp
  • Pure
  • Ethereal
  • Serene
  • Whiteout
  • Crystalline
  • Whirling
  • Swirling
  • Dazzling
  • Luminous
  • Shimmering
  • Tranquil
  • Delicate
  • Billowing

SOUND

  • Crunching
  • Squeaking
  • Crinkling
  • Creaking
  • Rustling
  • Swishing
  • Muffling
  • Whispering
  • Hushing
  • Hissing
  • Whistling
  • Squealing
  • Howling
  • Whipping
  • Blustering
  • Roaring
  • Clattering
  • Rattling
  • Groaning
  • Moaning
  • Dampened
  • Muffled
  • Hushed
  • Silent

FEEL

  • Cold
  • Chilly
  • Frosty
  • Prickling
  • Tingling
  • Numbing
  • Icy
  • Crisp
  • Stinging
  • Biting
  • Wet
  • Damp
  • Clinging
  • Soft
  • Powdery
  • Fluffy
  • Crunchy
  • Slushy
  • Soggy
  • Squishy

Ice

Many words under sound for ice are relevant to bodies of water, not ice just sitting on the sidewalk or road. That’s often without sound. That said, sometimes the water under the frozen top layer of puddles can drain away, leaving a thin sheet of ice with a hollow underneath. It cracks and snaps when stepped on.

SIGHT

  • Glistening
  • Glinting
  • Shimmering
  • Transparent
  • Crystal-clear
  • Reflective
  • Frozen
  • Pristine
  • Sparkling
  • Jagged
  • Sharp
  • Fractured
  • Slippery
  • Sheen
  • Crystalline
  • Glacial
  • Treacherous
  • Glassy

SOUND

  • Cracking
  • Creaking
  • Groaning
  • Snapping
  • Splintering
  • Shattering
  • Tinkling
  • Pinging
  • Rumbling
  • Grating
  • Squeaking
  • Scratching
  • Crumbling
  • Thudding
  • Squealing
  • Screeching
  • Moaning
  • Popping

FEEL

  • Cold
  • Smooth
  • Slippery
  • Hard
  • Sharp
  • Brittle
  • Glassy
  • Frigid
  • Numbing
  • Chilling
  • Jagged
  • Frosty
  • Crisp
  • Prickling
  • Stinging

Non-Specific Cold Weather

SIGHT

  • Gray
  • Overcast
  • Hazy
  • Foggy
  • Misty
  • Frost-covered
  • Pale
  • Gloomy
  • Dull
  • Dim
  • Shadowy
  • Dreary
  • Bright
  • Blinding
  • Brisk
  • Chilly
  • Freezing
  • Frigid
  • Bitter
  • Glacial
  • Arctic
  • Bone-chilling

FEEL

  • Bracing
  • Invigorating
  • Refreshing
  • Stiff
  • Stinging
  • Prickling
  • Tingly
  • Numbing
  • Biting
  • Harsh
  • Uncomfortable
  • Penetrating
  • Piercing
  • Agonizing
  • Intense
  • Sharp
  • Severe
  • Cutting
  • Raw
  • Piercing

Positive Experiences

  • Fergus wrapped himself in a cozy blanket as he lowered himself on to the couch, careful to balance the steaming mug of coffee in his hand. He’s always loved this time of year, the frost gathering on the window. They serene beauty of freshly fallen snow.
  • Aylin led the small army of children outside, their layers of winter cloths making them toddle a little awkwardly. She’d always been a little hesitant to enter the cold, never having enjoyed the winter. The kids, however, screeched with glee and threw themselves into the crisp air and thick snow that coated the daycare’s play yard.
  • Kelly nestled themself Infront of the fireplace, basking in the warmth of its glow and in the scent of burning wood. It mingled with the scent of the spiced cider in their mug. They sat blissfully for a few minutes, enjoying the quiet house before retrieving their book from the coffee table.
  • The rustic cabin sat nestled among tall pines, warmed by the antique wood stove which doubled today as a place to keep the fresh bread warm. Gudrun sat in his carved chair, scanning the faces of the family who had gathered to hear the story of his recent expedition.
  • It turned out to be the perfect day for a hike. Pallavi set out into the still, quiet forest as periodic gusts of wind shook the snow from the pines. Not fifty feet in, he heard the angry chattering of a squirrel, so upset at his invasion that it lobbed a pinecone at his head. Pallavi smirked. He knew this squirrel well, though the rodent didn’t share his neighbourliness.
  • Alex glided across the frozen pond, the sharp blades of their skates scratching dancing paths into the surface. The crisp, cold air filled their lungs as they twirled and spun beneath the clear winter sky, thankful to put the world behind them for a few hours.
  • Regina pulled her furs tighter around her shoulders before stepping out into the early morning winter. The snow crunched beneath their boots as they set out to the shed to gather more wood for the fire. Despite the chill, birds chirped in the distant forest, hunkered down in the trees outside the clearing.

Negative Experiences

  • Eko moved cautiously, every step little more than a fearful scuttle across the sidewalk.
  • Their cheeks burned with cold, the skin flushed and numb as the icy wind whipped against their face, freezing the moisture on their skin into a thin layer of frost.
  • Shivering in the bitter cold, Shamash cursed under their breath as they scraped thick frost from their windshield. Their fingers were numb and clumsy despite their gloves, and the chill in the air felt like needles across their cheeks.
  • The first few snowfalls of every winter caused traffic to come to a standstill, as though people had forgotten how to drive over the warmer months. Valentin knew this, but reliably forgot to leave early on these days, only coming to realize their mistake as they sat waiting for a hundred cars before them to move.
  • It was Simona’s scream that woke Niketas. He ran downstairs to find the basement flooded, water spraying in a horizontal fan from a frosted, burst pipe.
  • Eòghann trudged through the slush and snow, grimacing as icy water seeped into their shoes, soaking their feet and numbing their toes. He longed for the dry warmth of his home as he pulled the hood of his cloak back over his head, holding against the strong, steady wind that kept sweeping it off.
  • Monica snuffled and coughed, slumping miserably onto the couch. Her nose was swollen and red and her throat ached so badly she dared not speak when Kamaria asked her how she was doing.
  • Trapped inside by the third major snowstorm in as many weeks, Kristiina paced restlessly. She hadn’t seen the sun in what felt like ages and, reliably, her winter blues were starting to kick in.
  • Walking through the frozen landscape, Marianna felt the chill seep into her bones, the icy air prickling their skin with a thousand invisible needles as she trudged forth.
  • Alone in their cold, empty apartment, Gabrihel wrapped themselves in blankets, hugging their knees to the chest, their teeth chattering. The blackout couldn’t have come at a worse time. With the positively artic temperatures outside, it had taken only a few hours for the temperature in the apartment to drop uncomfortably.
  • Caught in the sleet storm, they huddled together under a makeshift shelter, seeking refuge from the biting cold and relentless barrage of ice.

Dangerous Experiences

Writing a winter survival scene? Don’t forget to check out Survival Skills: Surviving in the Mountains which has a lot of cold weather survival tips, even if your character isn’t in the mountains.

  • The blinding snowstorm had pushed Arushi off the trail leading through the treacherous mountain pass. She was lost, struggling to find her way to safety as the icy wind battered their face and exhaustion threatened.
  • Imamu stood trapped on the frozen lake, watching in horror as cracks spiderwebbed beneath their feet. He signaled for the others to turn back moments before the thin ice gave way, sending him plummeting into the icy water.
  • Shobha swore as they struggled to build a fire with fingers that were so cold they’d stopped bending properly an hour ago. Frostbite was setting in, and getting this fire going was the only thing that would save them.
  • The makeshift shelter rattled in the wind, doing little to shelter Yvain from its wrath. Even the fire glowing just outside the entrance was having little effect. His supplies were dwindling. There was little more than a few strips of dried meat and hard cheese left in his pack. If the snow and cold didn’t ease up soon, this pass would claim yet another victim.
  • Clenching their fists, Abdul tried to stave off the cold that threatened to consume him. Yet, his fingers continued to grow stiff and numb as the blood retreated from his extremities in a desperate bid to preserve warmth.
  • They navigated the treacherous roads with caution, their hands gripping the steering wheel of their much-too-old car tightly as they braved the slick pavement and limited visibility.
  • Time slowed to a hazy crawl as Marius’s car refused to break on the icy roads. Spinning uncontrollably, he hurdled toward the chaos of vehicles crumpled together on the road ahead, unable to do anything but gape in helpless horror.
  • It was hardly an ideal path, but the frozen lake offered a treacherous path through the icy landscape that would cut a week off the party’s trip. But it would be riddled with hidden dangers and thin patches that would threaten to give way as they made their way across.
  • Most days, Amalia didn’t mind the walk to school, but winters in this new city were far harsher than they’d been in California. The sidewalk was frosted in a thin layer of ice, and the dry cold prickled against her fingers and the front of her jean-clad legs. She tucked her bare hands into her armpits, the heavy sweater providing some warmth at least.
  • The silence was more terrifying than the roaring of the avalanche that had swept Sameer off his feet. It was pure, pressing on his ears even as he called for help. The snow absorbed his cries as she struggled to dig himself out, breaths coming in ragged gasps as he clawed at the hardened snow.
  • The blizzard roared across the mountain pass, engulfing the weary travelers in a swirling vortex of snow and wind, making it impossible to see more than a few feet in front of them.
  • Battling against the snowstorm, they struggled to keep their footing on the icy ground, their senses overwhelmed by the relentless assault of wind and snow.
  • In the middle of the storm, the hail grew larger and more menacing, threatening to shatter windows and destroy crops.

Neutral Experiences

  • Delara plodded down the street, snow squeaking under her boots.
  • Walking cautiously along the icy sidewalk, they watched their step, knowing that the thin layer of black ice lurking beneath the snow could send them tumbling to the ground with one wrong move.
  • It didn’t take long for Sindri to melt the snow she’d collected for drinking water. When she took a sip from it, she found it to still be crisp and cold, not good if she wanted to keep her body temperature from dropping.
  • Rubbing their hands together briskly, Darcy tried to warm their cold fingers.
  • Outside, the world looked quiet and serene, the bright midday sun shining on the thick layer of snow that covered everything.
  • Ferdous used the remote start on his car as he stood up from his desk. By the time he made it out to the parking lot, the frost on the windshield should be melted, saving him from having to spend several minutes scraping it off.
  • Clouds of air funneled from Chen’s mouth as he spoke.
  • The wet snow clung to their fur coats, chilling them to the bone as they trudged through the freezing landscape in search of shelter.

Describing the Environment Only

  • The snow-covered plains sparkled in the sunlight, a pristine blanket of white stretching as far as the eye could see. In the distance, the river steamed, warmer than the still, cold air.
  • Icy fog descended upon the city like a ghostly shroud, its tendrils wrapping around buildings and streetlights, cloaking everything in a veil of frost.
  • The sudden snow squall descended upon the mountain pass, catching the group of travelers off guard as visibility plummeted and the world disappeared in a swirl of white.
  • The frozen landscape lay barren and desolate, Icy wind whipped through skeletal trees and pushed the fine, powdery snow into tall snowdrifts.
  • Walking beneath the overhanging cliffs, they marveled at the icicles that dripped from the rocky ledges above, their translucent forms catching the light so they sparkled.
  • In the early morning, the streets were quiet. The soft glow of the streetlights cast long shadows across the freshly fallen snow.
  • The forest glowed with the soft light of winter, the trees draped in shimmering icicles and the ground blanketed in a thick layer of pristine snow.
  • The once raging waterfall stood silent and still, its cascade frozen in time as icicles hung suspended in midair like crystalline daggers.
  • The howling winds whipped through the streets, driving snow and ice before them in a relentless onslaught.
  • Downtown was dotted by plumes of warm humid air freezing into clouds above the skyscrapers. The white towers rose high before suddenly sweeping to the east as though meeting an invisible barrier.
  • The valley lay silent and still, its gentle slopes blanketed in a thick layer of snow, the only sound the soft crunch of footsteps and the distant call of a lone bird braving the cold.
  • The sky blazed with colour as the sun rose above the horizon, its golden rays painting the snowy landscape in hues of pink and orange.
  • A ribbon of silver, the frozen river wound its way through the snow-covered valley.
  • The sleet pelted against the windowpanes, its icy shards rattling against the glass like tiny daggers, creating an eerie soundtrack to the storm.
  • A month into winter, the lake had frozen over. It stretched out before them like a vast expanse of glass, its icy surface shimmering in the pale light of the winter moon.
  • The wet snow fell heavily, weighing down tree branches and creating a slushy mess on the sidewalks, making each step a challenge.
  • The wet snow fell heavily, weighing down tree branches and creating a slushy mess on the sidewalks.
  • The slush-covered streets reflected the dull glow of streetlights, creating a murky, reflective surface that mirrored the somber mood of the city.
  • The snowstorm raged outside, blanketing the streets in a thick layer of snow and bringing life to a standstill.
  • The air shimmered like millions of tiny crystals were floating all around her.
  • Freezing rain fell from the sky like shards of ice, coating everything in its path with a glaze of shimmering crystal.
  • Frost delicately coated the windows in intricate patterns, creating a beautiful tapestry of crystalline filigree that sparkled in the soft light of dawn.

Hypothermia

  • Hajnal shivered uncontrollably as their body futilely attempted to generate heat as the cold worsened.
  • With every passing moment, their energy waned, their movements growing sluggish and uncoordinated as hypothermia set in. They could barely think straight any longer, and they wondered if it would be best to head out into the storm despite the risks.
  • The moment Todd heard the man speak, a slow, slurred rambling that barely made sense, he realized what was happening. Shrugging off his jacket, he wrapped it around the man’s shoulders before running back to the car for blankets.
  • The cold wrapped around them like a suffocating blanket. Barica struggled to keep their eyes open, but it was getting harder with every minute that passed. Already he could tell his breaths were too slow, but it almost didn’t matter. Sleep called, and all he wanted was to give in to it.

Frostbite

  • It started with a tingling sensation in their fingers and toes, a warning sign of the impending danger.
  • The skin on her legs stung and burned despite the cold, the flesh turning mottled.
  • The tips of Gerald’s fingers were pale and waxy, another he felt little in them. They had long since turned numb and lifeless as the cold overcame him.
  • With each passing minute, the pain intensified. It was a searing agony that radiated through Marcin’s frozen limbs as the tissues began to freeze and die, leaving behind nothing but blackened, necrotic flesh in its wake.

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Describe It: The Basics of a Fight

Few scenes captivate readers quite like a well written fight scene. Whether it’s a fierce duel between two adversaries or a brutal war, fight scenes have the power to evoke adrenaline, suspense, and raw emotion in readers. As authors, mastering the art of writing fight scenes is essential for creating dynamic and immersive stories that keep readers on the edge of their seats.

In this D-Script, we’re going to talk about unarmed fighting and will get into complexities of multi-person fights, fighting with weapons, and outright battles another time. Before you can get into any of that though, you’re going to want to know the things such as what moves people execute in fights, defenses for common moves in books, and other very basic knowledge.

Everyman: The average person

Get Around This Post

The VERY Basics of Fighting

First things first, you should know that every blow in a fight can be fatal. It’s important to note that fighting often comes with unintended consequences. Every year, people die in fights that were never meant to be deadly, or they may suffer other long term consequences. We’re going to get into this here because you might be able to work these realities into your story, but also because covering what happens during a fight and leaving out the really bad stuff would be irresponsible. It also ties into later posts we’ll have on injuries.

Here’s a brief review of some of the things that can go wrong in fights by area that might receive a wound:

Head: Blows to the head can cause serious injuries, including concussions, skull fractures, traumatic brain injuries, and even death. Non-lethal injuries can have long-term consequences, including cognitive impairments, memory loss, mood disorders, and other neurological deficits. Additionally, blows to the head from a punch have the potential to break the hand of the person striking if the punch is poorly thrown or the fist isn’t formed correctly. Blows to the head and face can also cause damage the neck, or can knock someone down causing them to take a blow from the ground which could be more severe than the original blow itself.

Face: Strikes to the face can cause facial fractures, broken nose, eye injuries, dental trauma, and soft tissue damage. These injuries can result in pain, swelling, disfigurement, and difficulty breathing or eating. Blows to the head and face can also cause damage the neck, or can knock someone down causing them to take a blow from the ground which could be more severe than the original blow itself.

Neck: Attacks to the neck can cause severe injuries to the cervical spine, including fractures, dislocations, and spinal cord damage. Damage to the neck can result in paralysis, loss of sensation, and even death if the spinal cord is compromised. Strikes to the throat can cause tracheal injuries, laryngeal fractures, and airway obstruction. Damage to the throat can lead to difficulty breathing, swallowing, or speaking, as well as potential life-threatening complications if the airway becomes compromised. If a blow to the throat is severe enough, it can collapse the throat and suffocate the person.

Chest: Blows to the chest can cause rib fractures, lung contusions, and cardiac injuries. Injuries to the chest can result in difficulty breathing, chest pain, coughing up blood, and potential complications such as collapsed lungs or cardiac arrest (stopping the heart).

Abdomen: Strikes to the abdomen can cause internal injuries, including liver lacerations, spleen ruptures, kidney damage, and intestinal trauma. Internal injuries can lead to abdominal pain, swelling, nausea, vomiting, and potentially life-threatening hemorrhage or organ failure.

Knees and Elbows: Knees and elbows are simultaneously the strongest and weakest parts of the body. Strongest if bent and being used to deliver a blow. Weakest if in a locked position, leaving them vulnerable to collapse or breakage. Blows to the knees and elbows can cause ligament tears, meniscal injuries, and fractures of the patella or femur. Knee injuries can result in pain, instability, swelling, and decreased range of motion, potentially requiring surgical intervention and long-term rehabilitation.

Hands and Wrists: Punching or striking with the hands can cause fractures, dislocations, and soft tissue injuries to the hands and wrists. Hand injuries can result in pain, swelling, deformity, and impaired hand function, affecting grip strength and dexterity.

Feet and Ankles: Kicking or striking with the feet can cause fractures, sprains, and ligament injuries to the feet and ankles. Foot and ankle injuries can result in pain, swelling, instability, and difficulty walking or bearing weight, requiring rest, immobilization, or rehabilitation.

Back: Blows to the back can cause spinal injuries, muscle strains, and herniated discs. Back injuries can result in pain, stiffness, numbness, and weakness in the back or extremities, affecting mobility and quality of life. Depending on placement, it can also impact internal organs.

The videos provided below are just a snapshot of unintended consequences of fighting. These cover everything from the everyman fight to professional fighters, showing how even people who know what they’re doing may experience trauma or worse.

The First Step in a Fight is Always Avoidance

One of the first things you’ll learn in most training is how to avoid getting into a fight entirely. There are, of course, exceptions to this such as special forces using overwhelming speed and violence to intimidate and overtake an enemy, but in general de-escalation is the first step in day-to-day life.

In writing, trying to provide the opportunity to not have a fight break out only to fail adds complexity to the situation. On top of that, it can show your character is not a hot-head, fire and brimstone sort of person, but one who has the mental skills to understand risk and consequence, show that in a fight they are potentially more dangerous because they’ve been trained, and much more.

So, how does the everyman avoid conflict?

Stay Calm: Staying calm and composed, even in heated or tense situations. Avoiding escalating conflicts by speaking in a calm, respectful tone and avoiding aggressive body language.

Active Listening: Listen actively to the other party’s concerns and grievances. Demonstrate empathy and understanding by acknowledging their perspective and validating their feelings.

Communication: Communicate openly and clearly to address misunderstandings or grievances. Use “I” statements to express feelings and concerns without placing blame or escalating tension.

Apologize if Necessary: If someone has inadvertently contributed to the conflict, they can apologize sincerely and take responsibility for their actions. A genuine apology can defuse anger and resentment, paving the way for resolution. Pride is a major source of fights, both physical and verbal.

Seek Compromise: Look for mutually acceptable solutions or compromises to resolve the conflict. Focus on finding common ground and working together to reach a resolution that satisfies all parties.

Walk Away: Sometimes the best way to resolve a conflict is to disengage and walk away from the situation. Know when to get out of a potentially dangerous or unproductive environment to avoid escalation.

Involve Mediators or Authorities: If the conflict escalates and a person is unable to resolve it on their own, they can seek assistance from mediators, authority figures, or law enforcement to help facilitate a peaceful resolution.

What About Professional De-Escalation Techniques?

Police, military, or other highly trained professionals (such as mental health workers) might use the following techniques. At least, this is what they’re trained to do. In tense situations even trained people can let pride, arrogance, anger, fear, prejudice, desire for power, or other things get in the way of making good decisions.

Verbal Communication: Professionals should use communication skills to establish a rapport, diffuse tension, and gain voluntary compliance from those involved in a confrontation. They use calm and respectful language, active listening techniques, and empathy to establish a dialogue and understand the concerns and motivations of those involved.

Active Listening: Professionals should actively listen to the concerns, grievances, and emotions expressed by those involved in a confrontation, demonstrating empathy and understanding. By validating their feelings and perspectives, professionals can build trust and rapport, which can help de-escalate the situation.

Empathy and Understanding: Demonstrating empathy and understanding towards those involved in a confrontation, acknowledging their emotions, frustrations, and concerns can be helpful. By showing empathy, they can de-escalate emotions and build rapport, which can help facilitate a peaceful resolution to the situation.

Maintaining Distance: Professionals maintain a safe distance from those involved in a confrontation to minimize the risk of escalation. By maintaining distance, they reduce perceived threats and create space for dialogue and negotiation. This also gives them more reaction time if it escalates and gives them a fuller view of the body where they are watching for signs of someone readying an attack. We’ll get into this later.

Use of Time and Space: Professionals use time and space to their advantage, allowing those involved in a confrontation to cool off and regain composure before attempting to resolve the situation. By giving people time to process their emotions and consider their options, they can reduce the likelihood of impulsive or aggressive behavior. One of the first rules of conflict management for non-physical fights is to let people cool off for 24 hours before addressing what happened.

Offering Choices and Solutions: Professionals will offer choices and solutions to help resolve the situation peacefully. By presenting alternatives and brainstorming solutions together, they empower others to take control of the situation and find mutually acceptable outcomes. This gives people a sense of control when they may feel like they have no choice but to escalate.

Calling for Backup and Support: Professionals might call for backup and support from additional personnel or from specialized units to help de-escalate the situation and ensure the safety of everyone involved. Additional resources and expertise can provide valuable assistance in resolving complex or high-risk situations.

Non-Verbal Communication: Professionals use non-verbal communication techniques, such as body language, facial expressions, and gestures, to convey calmness, confidence, and professionalism. By projecting a sense of authority and control, they can help de-escalate emotions and maintain order in tense situations. For example, did you know standing with your shoulders directly facing someone can be intimidating and seen as a power move? Standing with the shoulders at a slight angle improves this and allows people to step down from their feelings of threat faster.

Respecting Boundaries and Dignity: Professionals are trained to respect the boundaries and dignity of those involved in a confrontation.

Seeking Collaboration and Mediation: Professionals might seek collaboration and mediation from neutral third parties, such as community leaders, social workers, or mediators, to help facilitate a peaceful resolution to the situation. By involving neutral parties with expertise in conflict resolution, officers can help de-escalate tensions and find mutually acceptable solutions.

Conservation of Energy

One of the most important things to do in a fight is to conserve energy. Fights are physically and emotionally draining. We’ve all seen movies where someone starts flipping all over the place. That burns a tonne of energy which will make it harder for them to maintain the battle for longer. You don’t want the opponent to have more endurance than you!

So, in a fight keep motion to a minimum if you want to be more realistic and to make your character look more skilled. The showing off you see in movies is for dramatic affect and gets ripped into a lot in modern movies.

Emotions and Fighting

If books are a playground, emotions are the equipment on it that makes it fun to be there. Great writers know that everything in writing a novel revolves around emotions. You use emotions keenly throughout your story, working emotive words into everything you can to engage your reader and help them connect with the story and its characters.

When writing a fight scene, take into consideration the emotions before, during, and after a fight and how they impact your story. They influence people’s thoughts, behaviors, and physiological responses. They even might be the difference between winning and losing.

Keep in mind that people who train to fight are usually trained how to regulate their emotions. That said, one can never fully prepare for real life situations. Even soldiers who have seen a lot of active battle still generally go through strong emotions. They tend to just be better at countering it, though it’s not always possible.

Emotions Before a Fight

Fear and Anxiety: Before a fight, people often experience fear and anxiety in anticipation of an impending conflict. Fear of injury, failure, or humiliation can trigger the body’s stress response, leading to increased heart rate, shallow breathing, and heightened alertness. You can learn how to describe those emotions here: Describe it: Anxiety / Nervousness, and Describe it: Fear / Panic

Anger and Aggression: Anger and aggression are common emotional responses before and during a fight. Anger can fuel motivation, increase arousal, and lower inhibitions, making them more likely to engage in aggressive, dangerous, and out of character behavior. You can learn how to describe this emotion here: Describe It: Anger

Confidence and Determination: Despite feeling fear and anxiety, people may also experience confidence and determination before, during, or after a fight. Confidence can help people maintain focus, overcome doubts, and perform at their best under pressure. Keep an eye out on the Describe it: Emotions section for more about these. Note that just because someone is confident, doesn’t mean they will perform well. They may overestimate their own abilities, underestimate the opponent, or be unable to see possible complications that will happen during a fight.

Emotions During a Fight

Adrenaline and Arousal: Get your head out of the gutter, arousal has other meanings than that! During a fight, the body’s stress response is activated, releasing hormones such as adrenaline and cortisol to prepare for physical exertion. Adrenaline increases heart rate, blood pressure, and energy levels, while cortisol enhances focus, reaction times, and pain tolerance. Keep an eye out on the Describe it: Emotions section for more about these.

Aggression and Intensity: Emotions such as anger, aggression, and competitiveness are heightened during a fight, as people channel their energy and adrenaline into physical combat. The intense emotions of the moment can override rational thought and impulse control, leading to impulsive or reckless behavior. You can learn how to describe this emotion here: Describe It: Anger

Fear and Panic: Despite training and preparation, people may still experience fear and panic during a fight, especially if they feel overwhelmed or outmatched by their opponents. Fear can impair judgment, coordination, and decision-making, making it difficult to effectively respond to threats or anticipate attacks. You can learn how to describe those emotions here: Describe it: Anxiety / Nervousness, and Describe it: Fear / Panic

Emotions After a Fight

Relief and Exhaustion: After a fight, people often experience a mix of relief and exhaustion as the adrenaline rush subsides and the body begins to return to its normal state. Relief may come from surviving the confrontation unharmed or achieving a desired outcome, while exhaustion may come from physical exertion and heightened stress levels. Keep an eye out on the Describe it: Emotions section for more about relief, but for now Describe It: Tiredness / Exhaustion is available.

Euphoria or Disappointment: Depending on the outcome of the fight, those involved may experience feelings of euphoria or disappointment. Winning a fight can elicit feelings of triumph, pride, and satisfaction, while losing can lead to feelings of frustration, anger, or sadness. Keep an eye out on the Describe it: Emotions section for more about these.

Physical and Emotional Pain: After a fight, those involved might experience physical and emotional pain from injuries sustained during the confrontation. Physical pain could come from bruises, cuts, sore muscles, or more serious injuries requiring medical attention. Emotional pain might stem from feelings of guilt, shame, or regret over their actions or the outcome of the fight. Keep an eye out on the Describe it: FIghts and Injuries section for more about this.

Regret: People who have engaged in fights might experience regret. Once emotions calm, they may realize they acted without thinking, may have hurt someone they cared about, may realize their actions were reckless, or may have done serious harm to someone without intention. Keep an eye out on the Describe it: Emotions section for more on this emotion.

Worry: Similar to regret but worry may include concern over legal consequences or relationship consequences. They might worry about the instability or high emotions they showed that led to the event. They may also worry if the fight isn’t truly over and will result in retribution or something similar. Keep an eye out on the Describe it: Emotions section for more on this emotion.

Assault, Self Defense, and Legality

In real life, there’s a significant chance of assault charges if one strikes another person or makes threats toward harming someone. However, legalities in books are often swept aside as this type of consequence adds complexity to our stories that might derail the plot or make it more complicated than what our word counts allow for. Still, for completion’s sake and to be responsible, let’s touch briefly on this.

Assault: This refers to the act of intentionally causing fear of imminent bodily harm or offensive contact in another person. It can include threats or actions that create a reasonable apprehension of harm, even if no physical contact occurs. Assault can be classified as either simple assault (misdemeanor) or aggravated assault (felony), depending on the severity of the threat or harm involved.

Assault laws vary by jurisdiction, but generally the key elements of assault include intent, apprehension of harm, and the perception of a credible threat by the victim. Prosecutors must prove that the defendant had the intent to cause fear or harm and that the victim reasonably believed they were in danger.

Touching someone without consent is often considered assault, as is throwing stuff on the person, or spitting.

Self-Defense: The legal right to protect oneself or others from imminent harm or danger by using reasonable force is common. It’s based on the principle of necessity and allows people to defend themselves against threats of violence or unlawful aggression without facing criminal liability.

Self-defense laws vary by jurisdiction but generally require that the use of force be necessary, proportionate, and reasonable under the circumstances. People must reasonably believe that they or others are in immediate danger of harm and that using force is the only way to prevent that harm. The amount of force used must not exceed what is necessary to neutralize the threat, and People have a duty to retreat if possible before resorting to force in some jurisdictions.

Some jurisdictions impose a duty to retreat before using force in self-defense, requiring people to attempt to escape or avoid the threat if possible. Failure to retreat when it is safe to do so can impact the legality of the use of force in self-defense. Other places have stand your ground laws. For example, some states in the United States have laws that allow people to use force, including deadly force, to defend themselves in places where they have a legal right to be. These laws vary by state and can impact the legalities of self-defense in those jurisdictions.

Fighting Myths

There are a few things that people assume or have been told that are incorrect about fighting. Here are some things you can work into your story either for the benefit or detriment of your characters:

A Knee to the Groin is Always Effective: While a knee to the groin can be painful and debilitating, it’s not always guaranteed to incapacitate an attacker, especially if they are highly motivated, adrenaline-fueled, or wearing protective gear. Additionally, some people have a higher tolerance for pain or are able to react quickly enough to mitigate the impact.

Size and Strength Always Determine the Outcome: While size and strength can certainly be advantages in a fight, they are not the sole determinants of success. Factors such as technique, skill level, agility, speed, and mental fortitude also play significant roles in determining the outcome of a fight. Additionally, not everyone who is big is slow and clumsy, and those who are lean aren’t neccessarily fast. This has more to do with training.

Street Fighting Is Like What You See in Movies: Hollywood often portrays fights in a dramatic and exaggerated manner, with elaborate choreography and unrealistic outcomes. In reality, street fights are chaotic, unpredictable, and often end quickly.

All Martial Arts Techniques Are Equally Effective in Real-Life Situations: While martial arts can be valuable for self-defense, not all techniques are equally practical or effective in real life. Some techniques require extensive training to master and might not be suitable for every situation. It’s important to focus on practical, realistic techniques that can be applied effectively under stress. Additionally, you don’t have to be in the martial arts community long to hear and see how certain techniques can leave someone vulnerable to other attacks. Pride makes a lot of martial artists see their discipline as the best, when in reality there are countermoves and weakness to pretty much all attacks and defenses.

Pain Compliance Always Works: Pain compliance techniques, such as joint locks or pressure points, rely on inflicting pain to control or subdue an opponent. While these techniques can be effective against compliant or untrained people, they could fail to work against determined or intoxicated attackers. Additionally, relying solely on pain compliance can be risky, as it can escalate the situation or provoke further aggression.

You Should Always Fight Back: While self-defense is important, there are situations where fighting back may not be the best course of action. Escaping, de-escalating, or seeking help from authorities could be safer options, especially if a person is outnumbered or facing an armed attacker. It’s essential to assess each situation carefully and prioritize safety above all else.

Name That Move! What’s Happening in a Fight

While it’s not always advised to use the proper name of a move in your writing, in some cases the name is simple enough to relay what’s happening. Even when you’re writing a character that knows what they’re doing, your reader likely has no clue what you’re talking about. Additionally, throwing in too many technical terms may make it appear like you’re trying to show just how much you know or are showing off in strange ways to the detriment of your writing. That’s why the below has not only the name of moves but brief descriptions of them.

I remember a book I was reading that was written for the Halo series (I’m a huge fan and even have a tattoo). I was motivated to read the books as well. The first book I picked up was well written…except for the fact the author got waaaay too technical and it made the story hard to read. Despite my fan-girl motivations, I have still yet to finish that book!

The below names and descriptions (and even tips) are written generally, not specific to how you would use them in a book.

In this D-Script, I am not using imagery to show what each move looks like. It’s just too complicated and there are better resources for that. I suggest using YouTube to look up any move or technique you’re planning to use. I also strongly recommend that if you are writing a trained character, you narrow the search term by martial art or profession (police, military, special forces, etc.) so you can see how that character is actually trained and potentially see the countermoves.

How People Stand in a Fight is Important

In the following sections, we’re going to reference stance A LOT. Proper stances are essential for maintaining balance, mobility, and readiness in a fight.

Neutral Stance: A relaxed and balanced position with feet shoulder-width apart. Keep knees slightly bent and weight evenly distributed between both feet (never lock the knees, it reduces reaction time and increases the chance of injury). Keep a straight posture with hands up, elbows bent, and palms facing inward toward the face. This stance allows for quick movement in any direction and facilitates rapid defensive reactions.

Fighting Stance (Orthodox): Standing with the dominant side (usually the stronger hand and foot) positioned behind and other foot slightly forward. Distribute weight evenly between both feet, with knees bent and body angled slightly sideways (never lock the knees, it reduces reaction time and increases the chance of injury). Keep the lead hand up to guard the face, chin tucked, and the rear hand positioned near the cheek for defense. The fighting stance offers balance, power generation, and protection for offensive and defensive maneuvers.

Southpaw Stance (Opposite Orthodox): The mirror image of the orthodox fighting stance, with the dominant side positioned forward instead of back. If left-handed or if the person prefers leading with the non-dominant side, adopt the southpaw stance. Keep the lead foot forward, rear foot slightly angled, and body oriented to present a smaller target to opponents. Guard the face with the lead hand and keep the rear hand ready to counter or block incoming strikes. The southpaw stance provides a strategic advantage by offering different angles of attack and defense compared to the orthodox stance.

Modified Stances: Depending on the martial art or individual preference, fighters might use modified stances to suit their style or strategy. Examples include the bladed stance (sideways stance with one foot forward), the long guard stance (extended lead arm for range), and the low stance (lowering the centre of gravity for stability).

Strikes

Backfist: A strike made with the back of the fist, often used in quick, close-range attacks.
Cross: A powerful punch thrown with the rear hand, usually following a jab or used as a counter.
Elbow Strike: A strike using the elbow, which can be thrown in various directions and angles for maximum effectiveness. Hammer Fist: A strike made with the bottom of the fist, like a hammer blow.
Headbutt: A strike using the head, aimed at the opponent’s face or head, often used in close-quarters combat.
Hook: A circular punch thrown with a bent arm, targeting the opponent’s head or body from the side.
Jab: A quick, straight punch thrown with the lead hand to create distance or set up other strikes.
Knee Strike: A strike using the knee, typically directed at the body or legs of the opponent.
Knife Hand Strike: A strike made with the edge of the hand, resembling a knife, usually aimed at soft tissue or pressure points.
Overhand Punch: A looping punch thrown over the opponent’s guard, aimed at landing on the top or side of the head. Palm Strike: A strike delivered with the palm of the hand, used in close-range combat.
Punch: A straight blow delivered with a closed fist, typically aimed at the face, body, or head.
Uppercut: A punch thrown upwards, typically targeting the chin or body from close range.

Tips, Tricks, and Warnings

Let’s face it, there aren’t many situations you’re going to write about the position of a character’s thumb when they’re in a fight. Still, having a basic understanding of what makes a skillful fighter (or at least one that isn’t going to break their hand), will help you put together a better scene.

Start with a Good Stance: Begin in a balanced stance with feet shoulder-width apart, knees slightly bent (never lock the knees, it reduces reaction time and increases the chance of injury), and weight evenly distributed between both feet. A solid stance provides stability and power for punches. Depending on training, the person could stand with feet side by side or one further back. Further back aids in ease of movement, can increase power to an attack, and helps prevent being knocked backward. Scroll up for the discussion on stances if you bypassed them.
Proper Fist Formation: The thumb should rest outside the fingers. The knuckles of the index and middle fingers should contact the target, while the wrist remains straight to prevent injury. That’s right, they should hit with knuckles not the fingers! It’s actually why you see so many fighters with scuffed up or bleeding knuckles. Still, it may be hard to control and hitting with the wrong area can cause damage to the hand, including breakage.
Rotate The Body: Generate power in a punch by rotating hips and shoulders in the direction of the punch. This kinetic chain transfers energy from the lower body to the upper body and through the fist, maximizing impact force.
Exhale on Impact: Exhaling forcefully as they throw the punch engages core muscles and increases power. This also helps to maintain relaxation in the body, which is important for speed and fluidity of movement.
Retract Quickly: After contacting the target, retract the punch quickly to guard against counterattacks and maintain defensive readiness.
Avoid Locking the Elbow or Knees: Locking the elbow or knee means holding it fully extended without a bend. Locking these joints increases the chances of injury to the joint, as I’m adding constantly through this post. A skilled fighter also knows a locked elbow or knee can be broken fairly easily.

RISKS AND DANGERS OF IMPROPER PUNCHING TECHNIQUE
We’ve already talked about this already, but to recap:
Hand Injuries: Improper fist formation or technique can lead to hand injuries, including fractures, dislocations, and sprains. Punching with the wrong part of the hand or hitting hard surfaces (including bony areas of a body like the skull) can increase the risk of hand injuries.
Wrist Injuries: Poor wrist alignment during punching can strain or injure the wrist joint, leading to sprains, strains, or even fractures. Avoid bending the wrist upon impact to reduce the risk of wrist injuries.

Kicks

Ax Kick: A downward kick aimed at the opponent’s head or shoulders, delivered with the heel or sole of the foot.
Back Kick: A kick delivered with the heel, usually aimed at the opponent’s midsection or face.
Crescent Kick: A swinging kick where the leg arcs in a circular motion, often used to strike the head or collarbone.
Flying Kick: A dynamic kick performed while jumping or leaping towards the opponent, typically targeting the head or upper body.
Front Kick: A kick delivered with the front of the foot or ball of the foot, targeting the opponent’s body or legs.
Hook Kick: A spinning kick delivered in a circular motion, targeting the opponent’s head or body.
Push Kick: A front kick used to push the opponent away or create distance.
Roundhouse Kick: A powerful kick delivered in a circular motion, often targeting the head or body.
Side Kick: A kick delivered with the edge of the foot, usually aimed at the opponent’s midsection or legs.
Spinning Back Kick: A powerful kick delivered by spinning the body 180 degrees, striking with the heel or ball of the foot.

Tips, Tricks, and Warnings

Maintain Proper Balance: Begin in a balanced stance with weight evenly distributed between both feet. Ensure that they maintain balance throughout the kick by engaging core muscles and keeping the body centred. Never lock the knees, it reduces reaction time and increases the chance of injury.
Chamber Kicks: Before executing a kick, chamber the leg by bending at the knee and drawing it upward toward the torso. This positions the leg for maximum power and extension during the kick.
Turn the Hips: Generate power in kicks by rotating the hips and shoulders in the direction of the kick. This rotational movement transfers kinetic energy from the lower body to the kicking leg, increasing the force of impact.
Extend and Retract Quickly: Extend the leg fully to deliver the kick with maximum reach and power, then retract it quickly to return to a starting position. Maintain control and balance throughout the kicking motion to avoid overextending or losing stability.
Use Proper Foot Positioning: Depending on the type of kick, use the appropriate part of the foot to make contact with the target. I recommend pulling up YouTube videos to see what part of the foot is used if you want to get into that sort of detail.
Avoid Locking the Knee: Locking the knee means holding it fully extended without a bend. Locking the knee increases the chances of injury to the joint and can slow movement. A skilled fighter also knows a locked knee can be broken or injured easily.

RISKS AND DANGERS OF IMPROPER KICKING TECHNIQUE
Loss of Balance: Kicking with improper technique or excessive force can lead to loss of balance and stability, increasing the risk of falls or being countered by the opponent.
Strains and Sprains: Overextending or hyperextending the leg during a kick can strain or sprain the muscles, tendons, or ligaments in legs and hips.
Impact on Joints: Kicking with improper alignment or technique can put undue stress on knee and hip joints, potentially leading to chronic pain or long-term joint damage. Ensure knees are aligned with toes and avoid locking joints during kicks to reduce the risk of injury, as discussed previously.
Potential for Counterattacks: Telegraphing kicks or leaving themselves vulnerable during the kicking motion can allow an opponent to anticipate and counter attacks. Minimize telegraphing and maintain defensive awareness to protect from counterattacks while kicking. We discuss this later in this D-Script

Grappling, Wrestling, and Holds

Grappling is a broad term that encompasses various techniques and styles of close-range combat. It includes techniques such as clinching, throws, takedowns, joint locks, and chokeholds and emphasizes controlling the opponent’s body and positioning to gain dominance or secure a submission. Wrestling is a specific form of grappling that focuses primarily on takedowns, throws, and pinning techniques.

Americana Lock: A joint lock submission where the attacker pins the opponent’s arm to the ground and applies pressure to the elbow joint.
Ankle Lock: The attacker secures control of the victim’s ankle and applies pressure to the joint by hyperextending or twisting the foot, potentially causing pain or injury.
Arm Triangle Choke: A chokehold where the attacker traps the opponent’s arm and neck between their own arm and body, cutting off blood flow to the brain.
Armbar: A joint lock submission where the attacker hyperextends the opponent’s arm by straightening it against the attacker’s hips or legs.
Bear Hug: A grappling technique where the arms are wrapped around the opponent’s body, used to control or lift them.
Body Lock: A grappling position where the arms are wrapped around the opponent’s torso, used to control or immobilize them.
Clinch: A close-range grappling position where fighters use various techniques to control their opponent’s movement and nullify striking.
Double Leg Takedown: A takedown where the attacker grabs both the opponent’s legs and brings them down to the ground.
Guillotine Choke: A chokehold where the attacker traps the opponent’s head under their arm and applies pressure to the neck.
Headlock: The attacker wraps their arm around the victim’s head or neck and applies pressure, potentially restricting breathing or causing discomfort.
Heel Hook: The attacker secures control of the victim’s leg and applies torque to the ankle joint by twisting the foot or heel, potentially causing pain or injury.
Kimura Lock: A joint lock submission where the attacker traps the opponent’s arm behind their back and applies pressure to the shoulder joint.
Kimura Trap: A series of techniques focused on controlling the opponent’s arm and shoulder to set up various submissions and sweeps.
Kneebar: The attacker secures control of the victim’s leg and applies pressure to the knee joint by hyperextending or twisting the leg, potentially causing pain or injury.
Omoplata: A shoulder lock submission where the attacker traps the opponent’s arm between their legs and applies pressure to the shoulder joint.
Rear Mount (Back Mount): A dominant grappling position where the attacker controls the opponent’s back, typically leading to chokeholds or rear naked chokes.
Rear Naked Choke: A submission hold where the attacker wraps their arm around the opponent’s neck from behind, cutting off blood flow to the brain.
Single Leg Takedown: A takedown where the attacker grabs one of the opponent’s legs and brings them down to the ground.
Triangle Choke: A submission hold where the attacker wraps their legs around the opponent’s neck and arm, cutting off blood flow to the brain.
Wrist Lock: The attacker secures control of the victim’s wrist and applies pressure to the joint by bending or twisting the hand or forearm, potentially causing pain or injury.

Tips, Tricks, and Warnings

Establish Control: Before attempting any grappling technique, focus on establishing control over the opponent’s body. This may involve clinching, gripping, or controlling their posture to limit their mobility and create opportunities for submission or control.
Maintain Proper Body Alignment: Maintain proper alignment of the body during grappling exchanges to maximize leverage and efficiency. Keep the spine straight, hips low, and centre of gravity balanced to maintain stability and control.
Position Before Submission: Prioritize positional control over submission attempts during grappling exchanges. Secure dominant positions such as mount, back control, or side control before attempting submissions to increase the chances of success.
Control Breathing: Stay calm and regulate breathing during grappling exchanges to conserve energy and maintain focus.
Apply Pressure Strategically: Apply pressure strategically to control the opponent and create openings for submissions or positional advancements. Use body weight, angles, and leverage to exert pressure on opponent’s joints, limbs, or torso.

RISKS AND DANGERS OF IMPROPER GRAPPLING TECHNIQUE
Joint Injuries: Improper grappling techniques, such as joint locks or submissions, can result in joint injuries such as sprains, strains, or dislocations.
Spinal and Neck Injuries: Grappling techniques that involve takedowns or throws can pose a risk of spinal or neck injuries if executed improperly.
Choking Hazards: Grappling techniques that involve chokeholds or strangulations can pose a risk of unconsciousness or injury if applied with excessive force or improper technique. Choking someone out can also lead to death easier than you might think.

Throws and Takedowns

Ankle Pick: A takedown where the attacker grabs the opponent’s ankle and lifts it, causing them to lose balance and fall.
Body Slam: A powerful takedown where the attacker lifts the opponent off the ground and forcefully throws them to the mat.
Circular or Stomach Throw: A throwing technique where the attacker falls backward, using their legs to lift and throw the opponent over their head.
Fireman’s Carry: A takedown where the attacker lifts the opponent onto their shoulders and throws them to the ground.
Hip Throw: A throwing technique where the attacker uses their hip to lift and throw the opponent over their back.
Judo Throw: A takedown where the attacker sweeps the opponent’s leg while simultaneously pushing them backward.
Knee Tap: A takedown where the attacker uses their knee to knock the opponent off balance and bring them to the ground.
Leg Trip: A takedown where the attacker sweeps the opponent’s leg out from under them, causing them to fall.
Minor Inner Reap: A foot sweep takedown where the attacker hooks the inside of the opponent’s leg and sweeps it out from under them.
Scissors Throw: A takedown where the attacker wraps their legs around the opponent’s waist and uses a scissoring motion to trip them to the ground.
Shoulder Throw: A throwing technique where the attacker grabs the opponent’s arm and throws them over their shoulder.
Side Separation Throw: A throwing technique where the attacker pulls the opponent to the side and drops to the ground, using momentum to throw them over their body.
Sweep: A takedown where the attacker uses a sweeping motion to knock the opponent off balance and bring them to the ground.
Sweeping Hip Throw: Similar to a hip throw, but with a sweeping motion to clear the opponent’s leg.
Suplex: A high impact throw where the attacker lifts the opponent off the ground and throws them backward or overhead.

Tips, Tricks, and Warnings

Maintain Proper Balance: Before attempting a throw or takedown, ensure they have a stable base and maintain good balance throughout the execution. Keep weight centred and stance balanced to prevent being countered or off balanced by the opponent.
Control the Opponent’s Centre of Gravity: Manipulate the opponent’s centre of gravity to create openings for throws and takedowns. Use footwork, grip fighting, and body positioning to disrupt their balance and set up techniques.
Use Proper Footwork: Footwork is crucial for executing effective throws and takedowns. Step in close to the opponent and establish a strong connection before initiating the throw. Pivot, angle, and drive with legs to generate power and momentum for the takedown.
Timing and Speed: Time throws and takedowns to capitalize on openings and exploit the opponent’s vulnerabilities. Execute techniques with speed and precision to catch opponents off-guard and prevent them from defending or countering effectively.
Transition Immediately: After executing a throw or takedown, transition quickly to a dominant position or follow-up technique to maintain control and capitalize on momentum. Maintain pressure and control over the opponent to prevent them from escaping or counterattacking.

RISKS AND DANGERS OF IMPROPER TECHNIQUE
Risk of Falling: Improper execution of throws and takedowns can result in falls or impacts that might cause injuries to all parties.
Joint and Ligament Injuries: Excessive force or torque applied during throws and takedowns could strain or injure the joints and ligaments of both the attacker and the recipient. Use controlled force and proper technique to avoid causing unnecessary harm.
Spinal and Neck Injuries: Throws and takedowns that involve impact or compression of the spine or neck can pose a risk of serious injury, including spinal cord injuries or whiplash.
Head and Facial Injuries: Falls or impacts resulting from throws and takedowns can cause head injuries, facial trauma, or dental injuries if proper precautions are not taken.

Blocks and Defenses

Catch: Intercepting a strike with one’s hands or arms to neutralize its impact.
Check: A defensive technique used to block kicks, typically with the shins or forearms.
Clinch: A grappling technique used to control the opponent’s movement and nullify their striking abilities.
Cover-Up: A defensive stance where the arms protect the head and body from incoming strikes.
Evade: A defensive maneuver where the fighter moves out of the way of an incoming strike.
High Block: A defense technique used to block strikes aimed at the upper body or head.
Low Block: A defense technique used to block strikes aimed at the lower body or legs.
Parry: A defensive move that redirects an opponent’s strike away from its intended target.
Slip: A defensive technique where the fighter moves their head to the side to avoid a punch.
Weave: A defensive movement involving bending the knees and torso to avoid strikes.

Tips, Tricks, and Warnings

Maintain a Ready Position: Begin in a balanced stance with hands up, elbows in, and chin tucked to protect vital areas. Keep knees slightly bent and be prepared to move and react quickly to incoming attacks.
Use Proper Hand Positioning: When executing blocks, position hands in a way that maximizes coverage and protection. Keep palms facing inward toward the face, with fingers loose to absorb the impact of strikes.
Focus on Timing and Distance: Time blocks to intercept incoming attacks just before they make contact with the body. Maintain an appropriate distance from the opponent to allow for effective blocking and counterattacks. Later, we’ll discuss how to anticipate attacks.
Move The Entire Body: Engage the entire body in defensive movements, not just arms or hands to angle the body away from incoming strikes and minimize the force of impact.
Angle Blocks: Angle blocks to redirect the force of incoming strikes away from the body. Use circular or diagonal motions to deflect attacks, rather than absorbing them head-on.
Follow with Counterattacks: After successfully blocking an attack, immediately follow with counterattacks to capitalize on openings and regain control of the engagement.

RISKS AND DANGERS OF IMPROPER BLOCKING TECHNIQUE
Injuries to the Arms and Hands: Blocking with improper technique or inadequate force can lead to injuries such as bruises, strains, or fractures in the arms and hands. Failing to position hands correctly or absorb the impact of strikes can result in unnecessary pain and injury.
Overextending and Off-Balance: Overextending blocks or committing too much force to a block can leave a person off-balance and vulnerable to follow-up attacks. It’s essential to maintain balance and stability while executing blocks to avoid being easily countered by the opponent.

Anticipating Attacks in a Fight

With enough practice, one might learn how to anticipate an attack. Here, we’re going to discuss not only that, but what skilled fighters do to use that to the detriment of the person they’re attacking.

Shoulder Watching: Observing the opponent’s shoulders to anticipate the direction and type of attack they may throw. This can help the defender prepare to block, dodge, or counter the incoming strike.

  • Counter Technique – Feinting: Making a deceptive or misleading movement to trick the opponent into committing to a defensive or evasive action prematurely. Feinting can disrupt the opponent’s ability to accurately anticipate the attack and create openings for follow-up strikes.

Footwork Analysis: Paying attention to the opponent’s foot positioning and movements to anticipate their next move. Changes in foot placement or weight distribution can signal an upcoming attack or shift in direction. (Caution: this one can take the eyes off most of the attacker’s body)

  • Counter Technique – Footwork Deception: Using subtle footwork adjustments or feints to mislead the opponent about one’s intentions and create openings for attack. By manipulating foot positioning and movement, the attacker can disrupt the defender’s ability to anticipate their next move.

Gaze Tracking: Monitoring the opponent’s gaze or eye movements to anticipate their target or intended direction of attack. The direction of the opponent’s gaze can provide valuable clues about their intentions and potential vulnerabilities.

  • Counter Technique – Eye Feinting: Making deliberate changes in eye contact or focus to deceive the opponent about the intended target or direction of attack. By manipulating their gaze, the attacker can confuse the defender and create openings for strikes.

Weight Shift Detection: Sensing changes in the opponent’s weight distribution or body alignment to anticipate their movements and potential attacks. Shifts in weight from one foot to another or changes in posture can signal an impending strike.

  • Counter Technique – False Tells: Intentionally creating false tells or deceptive cues to mislead the opponent about one’s intentions and disrupt their ability to anticipate attacks. By feigning weight shifts or body movements, the attacker can trick the defender into reacting prematurely or incorrectly.

What are Martial Arts?

Martial arts refers to various systems of combat and self-defense that are practiced for physical, mental, and/or spiritual development. These systems are typically rooted in traditions and philosophies that emphasize discipline, respect, and personal growth.

Below is an overview of martial arts systems from around the world. This is not an extensive list by any stretch of the imagination but is an overview of common ones. The below was originally derived from AI, however I did review and confirm descriptions. If you see any inconsistencies I missed, please feel free to let me know. (I’ll always try to be transparent with the use of AI, if I use it as a tool)

  • Aikido: A Japanese martial art centred on harmonizing with an opponent’s energy and redirecting their attacks. Aikido techniques often involve joint locks, throws, and pins, with an emphasis on fluid motion and non-resistance.
  • Boxing: A Western martial art focused on punching techniques using fists. Boxing practitioners train in footwork, head movement, and various punching combinations to outmaneuver opponents and score points or knockouts in competition.
  • Brazilian Jiu-Jitsu (BJJ): A grappling-based martial art that focuses on ground fighting and submission holds. Brazilian Jiu-Jitsu practitioners aim to control opponents on the ground, transition into dominant positions, and apply joint locks and chokeholds to force submission.
  • Capoeira: A Brazilian martial art that combines elements of dance, acrobatics, and music with striking and grappling techniques. Capoeira practitioners engage in fluid, rhythmic movements, often incorporating kicks, sweeps, and flips to confuse and outmaneuver opponents.
  • Hapkido: A Korean martial art that focuses on self-defense techniques involving joint locks, throws, and strikes. Hapkido emphasizes redirection of an opponent’s energy and using minimal force to overcome larger or stronger opponents.
  • Judo: A Japanese martial art that focuses on grappling and throwing techniques, with an emphasis on using an opponent’s momentum and balance against them. Judo practitioners learn to control and subdue opponents through various throws, pins, and joint locks.
  • Karate: A Japanese martial art characterized by striking techniques using punches, kicks, knee strikes, elbow strikes, and open-hand techniques. Karate emphasizes self-discipline, respect, and development of physical and mental strength.
  • Kendo: A Japanese martial art that focuses on swordsmanship using bamboo swords (shinai) and protective armor (bogu). Kendo practitioners learn striking techniques, footwork, and mental discipline through controlled sparring (keiko) and forms (kata).
  • Kickboxing: A hybrid martial art that combines elements of boxing and various kicking techniques from karate, Muay Thai, and other styles. Kickboxing practitioners compete in bouts using punches, kicks, and knee strikes to score points or achieve knockouts.
  • Krav Maga: An Israeli martial art developed for self-defense and hand-to-hand combat in real-world situations. Krav Maga techniques are practical and efficient, incorporating strikes, kicks, joint locks, and defenses against weapons and multiple attackers.
  • Kung Fu (Wushu): A Chinese martial art encompassing a wide range of styles, techniques, and philosophies. Kung Fu emphasizes fluid movements, acrobatics, and a holistic approach to combat, incorporating strikes, kicks, blocks, and throws.
  • Muay Boran: An ancient form of Thai martial arts that predates modern Muay Thai. Muay Boran incorporates a wide range of striking, grappling, and weapon techniques, including elbow strikes, knee strikes, clinching, and ground fighting.
  • Muay Thai: A Thai martial art known as the “Art of Eight Limbs” due to its use of fists, elbows, knees, and shins. Muay Thai practitioners use a combination of striking and clinching techniques to deliver powerful blows and control opponents in close-quarters combat.
  • Pencak Silat: A Southeast Asian martial art practiced in Indonesia, Malaysia, Singapore, and Brunei, characterized by its diverse range of techniques and cultural significance. Pencak Silat includes striking, grappling, throws, and weapon skills, often accompanied by music and dance.
  • Sambo: A Russian martial art developed for self-defense and combat sports, incorporating elements of judo, wrestling, and grappling. Sambo practitioners train in throws, takedowns, ground fighting, and submission holds for both sport and self-defense applications.
  • Savate: A French martial art that combines elements of boxing and kicking techniques, using the hands and feet for striking. Savate practitioners wear specialized footwear and compete in bouts using a combination of punches, kicks, and footwork.
  • Silat: A Southeast Asian martial art practiced in Malaysia, Indonesia, and the Philippines, known for its emphasis on fluid, dance-like movements and self-defense techniques. Silat practitioners learn strikes, joint locks, throws, and weapon skills in both armed and unarmed combat.
  • Systema: A Russian martial art emphasizing fluidity, relaxation, and adaptability in combat situations. Systema practitioners train in breath control, movement, and striking techniques, as well as grappling, joint locks, and ground fighting.
  • Taekwondo: A Korean martial art known for its dynamic kicking techniques, which often involve high, jumping, and spinning kicks. Taekwondo also incorporates hand strikes, blocks, and throws, with a focus on speed, agility, and precision.
  • Wing Chun: A Chinese martial art known for its close-range combat techniques, rapid strikes, and simultaneous defense and attack movements. Wing Chun practitioners train in sensitivity drills, trapping hands, and wooden dummy techniques to develop reflexes and coordination.
  • Kali (Escrima, Arnis): A Filipino martial art focused on weapons-based fighting, particularly with sticks, knives, and improvised weapons. Kali practitioners learn striking, blocking, and disarming techniques, as well as empty-hand combat and grappling skills.

What Makes a Martial Artist?

Every martial art has its own tennants: best practises, mindsets, focus on stopping an attack or overwhelming violence. However, some themes are common among most martial arts. Here’s a quick look at lessons often taught to suppor tbeing a good martial artist.

Respect: Respect for oneself, instructors, training partners, opponents, and the art itself is fundamental in martial arts.
Discipline: Martial artists cultivate discipline through regular training, adherence to rules and protocols, and self-control in both physical and mental aspects. Discipline helps practitioners stay focused, consistent, and committed to their goals.
Perseverance: Martial arts training often involves facing challenges, setbacks, and obstacles. Perseverance is the mindset of persisting through difficulties, overcoming adversity, and continuing to improve despite setbacks or failures.
Self-Control: Martial artists learn to control emotions, impulses, and reactions. Self-control allows practitioners to maintain composure, make rational decisions, and avoid unnecessary conflicts or aggression.
Focus: Developing mental focus and concentration is crucial for martial artists to perform techniques accurately, react swiftly to opponents’ movements, and stay present in the moment.
Humility: Despite achieving proficiency in their art, martial artists maintain a humble attitude, acknowledging that there is always more to learn and room for improvement.
Adaptability: Martial artists learn to adapt to different situations, opponents, and challenges. Flexibility in techniques, strategies, and mindset allows practitioners to effectively respond to changing circumstances and overcome unexpected obstacles.

About Street Fighting

Street fighting lacks the formal structure and instruction of traditional martial arts. Participants may have limited or no formal training and might rely on instinct, aggression, and raw physicality in confrontational situations. It focusses on practicality and effectiveness in real-life self-defense scenarios. Techniques are often simple, direct, and aimed at incapacitating or neutralizing an opponent as quickly as possible, without regard for aesthetic or traditional considerations. Street fighters must be adaptable and able to respond effectively to unpredictable and chaotic situations. They may need to improvise and use whatever means necessary to defend themselves, including utilizing the environment, improvised weapons, or dirty tactics. Additionally, street fights have no rules or regulations governing conduct or technique. Participants could employ techniques that are otherwise considered illegal or unethical.

About Law Enforcement and Military Training

Law enforcement training encompasses physical training, firearms proficiency, defensive tactics, legal education, and scenario-based training. Officers learn to maintain public safety, enforce laws, and respond to emergencies while adhering to department policies and legal standards. Training includes de-escalation techniques, arrest procedures, use of force protocols, and tactical skills for handling various situations, including armed confrontations, crowd control, and crisis intervention. This training emphasizes situational awareness, effective communication, and decision-making under pressure to ensure officers can safely and effectively perform their duties while protecting themselves and the public.

Military training prepares service members for combat operations, defense missions, and peacekeeping roles. It encompasses physical conditioning, weapons training, tactical maneuvers, and teamwork. Military personnel learn to operate in diverse environments and conditions, including land, air, and sea operations. Training focuses on combat skills, leadership development, and adherence to military protocols and regulations. Military training includes weapons proficiency, fieldcraft, navigation, first aid, and survival skills to ensure readiness for deployment in various operational theaters. Service members undergo rigorous physical and mental training to build endurance, resilience, and adaptability for the demands of military service, including combat situations, humanitarian missions, and disaster relief efforts.

Part of military training is to break the ‘civilian mindset’ and recreate personnel from the ground up.

Both of these roles impact mental health severely, as these people regularly put themselves in danger and may have no choice about it aside from leaving the job entirely, if they can (more difficult in military). This can result in behaviours counter to what is trained…but to be fair, so can the person just being a dick normally.

What about SWAT and Special Forces?

SWAT (Special Weapons and Tactics) teams are specialized law enforcement units tasked with handling high-risk situations, including hostage rescues, barricaded suspects, and counterterrorism operations. SWAT training focuses on preparing officers to respond to these critical incidents with precision, speed, and coordination. Here are some key aspects of SWAT training:

  • Tactical Operations: SWAT officers undergo extensive training in tactical operations, including room clearing, building entries, and close-quarters combat. They learn to work as a cohesive team to neutralize threats and protect civilians.
  • Firearms Proficiency: Advanced firearms training enhances marksmanship, weapon handling, and decision-making under pressure. SWAT members practice with a variety of firearms, including handguns, rifles, shotguns, and specialized weapons such as submachine guns and sniper rifles.
  • Specialized Equipment: SWAT teams utilize specialized equipment and gear tailored for high-risk operations. This might include ballistic armor, breaching (think breaking into places) tools, tactical communications gear, night vision devices, and less-lethal weapons for crowd control.
  • Negotiation Skills: Counter to the more violent aspects, SWAT officers also receive training in crisis negotiation techniques. Negotiators within the team work to establish communication with suspects and de-escalate situations whenever possible to achieve a peaceful resolution.

Modern SWAT teams are often, and controversially, outfitted similar to military personnel, including gear, weapons, and vehicles. In a world where criminals have access to equipment comparable to military personnel, sometimes this equipment is mandatory to protect the lives of law enforcement. Understandably, some people have concerns over law enforcement rolling down the street in the equivalent to tanks, especially with so much narrative going around about abuses of power that are continuing to come to light.

Special Forces such as the Navy SEALs, are elite military units tasked with conducting unconventional warfare, counterterrorism operations, and special reconnaissance missions. Training for Special Forces personnel is among the most rigorous and demanding in the world, designed to select and develop individuals capable of operating in extreme environments and executing complex missions. For example, most people who enter training to be Navy SEALs will drop out before the end of the first stage – Hell Week.

  • Selection Process: Special Forces candidates must first pass a grueling selection process that tests their physical fitness, mental toughness, and leadership potential. This process typically includes physical fitness tests, swimming assessments, psychological evaluations, and interviews. Selection is so intense it’s not only referred to as Hell Week but has recently come under some investigations as to how responisble it is.
  • Specialized Skills Training: Special Force Operators receive specialized training in a wide range of skills tailored to their specific roles and missions. This might include combat diving, parachute operations, sniper training, demolitions, language proficiency, and cultural awareness.
  • Unconventional Warfare: Special Forces training emphasizes unconventional warfare tactics, which involve working with indigenous forces, conducting covert missions, and operating behind enemy lines. Training scenarios focus on infiltration, reconnaissance, sabotage, and guerrilla warfare tactics.
  • Physical and Mental Resilience: Special Forces training is physically and mentally demanding, requiring candidates to push past their limits and operate effectively under stress and fatigue. Training instructors emphasize mental toughness, adaptability, and problem-solving skills to ensure candidates can thrive in challenging environments.

To be transparent, the above descriptions of selection and training of Special Forces Operators is…mild. Perhaps even politically correct.

“The USA Department of Defense defines unconventional warfare as activities conducted to enable a resistance movement or insurgency to coerce, disrupt, or overthrow a government or occupying power by operating through or with an underground, auxiliary, and guerrilla force in a denied area.”
* source: https://en.wikipedia.org/wiki/Unconventional_warfare_(United_States). (I generally avoid referencing Wikipedia, but this has a good, rounded discussion about the topic as it pertains to the US. Note that a lot of countries have Special Forces, including England, Canada, Israel…

Using Environment to The Advantage of Your Fight

Remember at the beginning of this D-Script we talked about planning your fight and part of that was thinking about the environment they’re in? Well, this is why! Anyone, not just skilled fighters (though it’s more likely in skilled fighters) can use their surroundings to their advantage. Writing this into your story will help make your fight scene more dynamic and show the quick thinking of your characters.

Characters should be aware of their surroundings, including potential hazards, obstacles, and opportunities for advantage. This includes taking note of objects that can be used as weapons or shields, escape routes, and terrain features that can be leveraged in combat. This will also allow them to use improvised weapons. Characters can use everyday objects to gain an advantage over opponents. This could include grabbing a nearby chair, bottle, or even using a piece of clothing as a makeshift weapon to fend off an attacker, grabbing sand or dirt and throwing it at the face if they’re fighting dirty or for survival.

Especially skilled fighters can use terrain and obstacles to their advantage by strategically positioning themselves to limit their opponent’s movement or create openings for attack. For example, they might maneuver their opponent into a narrow alleyway or use a low wall for cover and concealment. Further advantage can be taken if the person has elevation on their side. This might involve climbing to a higher vantage point to gain a better view of the battlefield or using elevated terrain to rain down attacks on their opponents from above. It can also be used to attain better cover from missile attacks (like arrows, bullets, thrown items).

Characters can also use their surroundings to create distractions. This might involve throwing objects to create noise or confusion, using shadows and cover to conceal their movements, or luring their opponents into traps.

And, again with the skilled fighters, they may want to know where potential escape routes are, especially if they find themselves outnumbered or outmatched. This might involve retreating to a nearby building, vehicle, or natural feature that provides cover and concealment while they regroup or call for reinforcements.

Defenses Against Certain Common Tactics

As we discussed at the beginning, opinions on what constitutes effective techniques and strategies can vary widely, even among experts. While there are fundamental principles and techniques that form the foundation of many martial arts systems, the application and effectiveness of these techniques can be subject to interpretation and debate.

In the below, we’re going to talk pretty basic maneuvers for defenses. There are a million ways to do these things, depending on who you listen to.

In General, Getting Inside the Guard Can Be Helpful…but Risky

What is “getting inside the guard”? It refers to a maneuver where an attacker moves within the range of their opponent’s extended limbs, making it difficult for the opponent to effectively strike with punches or kicks. What blows they can manage will lack power. However, being inside the guard opens one up to counter attacks that involve grappling. Being inside the guard is a more advanced technique as someone should be aware of their strengths and weaknesses in a fight, as well as what vulnerabilities they’ve opened themselves to.

Getting inside the guard can limit an opponent’s defensive options, making it harder for them to evade or block incoming strikes. This increases opportunities to land effective blows and disrupts their rhythm. It also can disrupt the opponent’s balance and stability, making it easier to off-balance them with pushes, pulls, or sweeps. This can set up follow-up attacks or takedowns to further control the flow of the fight. It may help back a person up into a position that is more adventageous for the attacker as well.

If utilizing this technique, one should exploit clinch and grappling techniques to control the opponent’s movement and posture. This can lead to positional dominance or openings for submission holds or strikes.

Keep in mind that when the character is inside the guard of another character, they’re often subject to the same vulnerabilities as the other person. That means limited striking options, exposure to clinch and grappling techniques, difficulties maintaining balance, limited mobility, exposure to joint manipulation, and it can make it difficult to escape.

Breaking a Wrist or Arm Grab

It’s possible for someone to have a VERY strong grip or large hand that makes it hard or impossible to break grabs. However, the greatest chance to break a grip is to focus on the thumb. The thumb is the weakest point of the grip. The thumb can either be grabbed and bent, or one can twist the restrained body part and pull toward the thumb to take advantage of that weakness. Likelihood is though that the second one will be more effective and faster, leading to greater success. It’s also very easy to teach to kids! I’ve run up to my kids, grabbed their wrist and shouted “BREAK MY GRIP!”. They think it’s hilarious, but from a young age both my children knew how to escape grabs like this.

The video below talks about women’s self-defense, but this is applicable to all genders.

Breaking Out of a Chokehold/Stranglehold

How to break chokes depends on if the choke is from in front or behind, and how many hands are used in the attack or if it’s the arms doing it. It can also depend on size differences between the person in the hold and those one the receiving end.

There are a LOT of ways to break a chokehold that involves hands. Before we get into specific types of grabs and their general defenses, keep in mind two things: the thumb is the weak spot (this is where grabbing is probably better in this case). Tucking the chin all the way toward the throat protects the throat from crushing and makes it very hard to hold on as well. Think of making as many double chins as you can!

Breaking Chokeholds from the Front

Front Choke with One Hand: In this chokehold, the attacker uses one hand to grip the victim’s throat, applying pressure to restrict airflow. Below are different ways to break the chokehold, not steps.

  • Swiftly step to the side to break the attacker’s line of force. Remember the thumb is a weak spot. Use hands to push against the attacker’s wrist or forearm from the inside to create space and release the chokehold.
  • If the elbow is locked (all the way straight), a blow to the outer part of the elbow can break the elbow and release the grip.
  • Grabbing the wrist, place the other hand on the outside of the elbow and spin toward the thumb. This gives control over the attacker’s arm and thus body. Raising the arm up behind their back will force them to double over – best case scenario.

Front Choke with Two Hands: The attacker uses both hands to grab the victim’s throat, applying direct pressure to restrict breathing. In this position, note that the attacker has left MANY vulnerabilities. Punches to the face, eye gouging, throat punch, abdominal blows, and kicks to the inside of the leg can be employed. Better techniques are:

  • Immediately tuck the chin to protect the windpipe and buy time. Use hands to pry or peel the attacker’s fingers away from the throat. Step back or pivot away to create distance and escape from the attacker’s grasp.
  • Grab the wrists by hooking around from the outside to the inside and try to pull them off and forward. This will bring the attacker off balance and toward you, where a headbutt might be effective (especially to the nose, causing lots of pain and the eyes to water).

Here are some more techniques:

Breaking Chokeholds from the Rear

Rear Naked Choke: The attacker wraps one arm around the victim’s neck from behind, while the other arm applies pressure to cut off blood flow to the brain.

  • Stay calm and avoid panicking, as struggling could tighten the chokehold. Use hands to create space or grab the attacker’s wrist. Lower centre of gravity and drop your weight to disrupt the attacker’s balance. Rotate the body to the side of the choking arm and tuck your chin to alleviate pressure on your neck.

Rear Guillotine Choke: The attacker uses both arms to encircle the victim’s neck from behind, applying pressure to restrict breathing and blood flow.

  • Protect the windpipe by tucking the chin and turning the head to the side. Use hands to pry or peel the attacker’s arms away from the neck. Step backward forcefully to break the attacker’s grip and create space for escape.

Breaking Chokeholds When Pinned to the Ground or Wall

When one can’t move fully, like being pinned against the ground or a wall, it can be more difficult to get out of the hold due to reduced ability to move.

When the Victim is on the Ground

Create Space: Use legs and hips to push against the attacker’s body, creating space between the person being attacked and the attacker. This can help alleviate pressure and give you room to maneuver. Put one foot in the crook of the leg and hip, if possible, which will provide better control of the attacker’s body.

Escape to the Side: Once space has been created, quickly turn the body to the side, either to the left or right. This movement can make it harder for the attacker to maintain the chokehold and may provide an opportunity to escape.

When the Victim is Against a Wall

  • Aggressively turn the body to the side, which should cause the grip to break
  • If the character’s arm is longer than the distance between them and their attacker, tuck the chin, reach out and punch beyond the head, move to the side using the character’s arm as a lever to take control of the attacker.
  • A twist on the above is to slap the hand over the attacker’s mouth and push their head to the outside and push. This will break their grip and force them back a little.

Finally, here are a few more resources for you:

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Locations: Mountain Biomes Including Valleys, Caves, and Other Features

Get Around This Post

Related Posts

This area will fill in the more subjects we’re able to get to. Make sure to check the Design and Environment page for all related posts. You can also check the Making Your Characters Stand Out section for the posts on Skill and Talents where we’ll get into how to survive in the mountains and what gear is needed, or what would have been used in say medieval times.

Mountain Biome – Summer (AI)
Mountain Biome – Winter (AI)

BIOME: a geographic area characterized by distinct climate, vegetation, and wildlife. Biomes are defined by factors such as temperature, precipitation, and the types of organisms that inhabit the area.

In this D-Script you’ll want to know the difference between two related biomes that I’m throwing in this post:

Mountain: A mountain is a landform rising prominently above its surroundings, typically having steep slopes and a peak or summit that reaches a significant elevation above sea level. Mountains are known for their rugged terrain, rocky slopes, and harsh environmental conditions. They vary greatly in size and shape ranging from what some might call hills to towering peaks (examples further down in this post). They can be part of a range (lots of mountains in a row) or may be singular formations.

Mountains are formed through geological processes such as tectonic or volcanic activity, and erosion. Not all mountain ranges are still geologically active, but some are (the Himalayas, the Andes, the Rocky Mountains, The Alaskan Range, and the East African Rift). This means the mountains are still growing. While other mountains, like the Appalachian Mountains are eroding and getting smaller over time.

Alpine: The term “alpine” refers to areas typically above the tree line and are characterized by alpine vegetation, rocky terrain, and cold climates. Alpine regions are commonly found in mountainous areas, particularly those at higher latitudes or altitudes. These areas often experience extreme weather conditions, including cold temperatures, high winds, and heavy snowfall. Alpine ecosystems are known for their unique flora and fauna adapted to survive in harsh mountain environments.

source: https://www.researchgate.net/figure/Extent-and-distribution-of-global-alpine-areas-a-Spatial-distribution-of-alpine-areas_fig1_339600115

Don’t forget to check out the ……..

As you keep reading, keep in mind that I’m covering what could be considered the ‘standard’ mountains. The mountains one might think of when one thinks of mountains. However, there are wildly different mountains around the world. Here is a link to an article that shows some of the world’s most unique mountains: 19 secrets you never knew about the world’s most beautiful mountains

Indigenous Perspectives

Mountains are often viewed as sacred places by Indigenous peoples. As such, they often have tonnes of stories that reflect histories of the land and associated folklore. These can give valuable insight into areas where these Indigenous nations travelled and lived. These stories have been passed between generations, sometimes to speak of abundance and other times serve as warning. For example, later I touch briefly on warnings Indigenous people gave to settlers around the town of Frank, Alberta. Some people listened and moved on, while others did not and … things happened.

Here are some links to indigenous perspectives that might interest you.

These perspectives can help inspire you as you write about the mountains but be careful to give credit where it’s due. Taking indigenous stories and making them your own should be avoided. Keep in mind these stories are their histories, their identities, and around the world indigenous peoples have suffered numerous cultures taking that from them. Often through extreme force up to and including genocide. Always credit your sources in respectful ways.

This section isn’t just for helping you understand this D-Script, but to help you use the right terminology when writing. Many of these terms we expand upon later. Even more definitions can be found under individual sections.

ROCK AND LAND FORMATIONS

  • Butte: A flat-topped hill or mountain with steep sides, often isolated.
  • Buttress: A projecting support or structure, often a rock formation, which reinforces the stability of a slope or cliff.
  • Chasm: A deep, gaping hole or fissure, often in the earth’s surface.
  • Cliff: A high, steep rock face or escarpment, often with a vertical or near-vertical drop.
  • Col: A pass or gap in a mountain ridge, allowing passage between two valleys.
  • Crag: A steep, rugged rock or cliff, often with a series of projections and indentations.
  • Crest: The highest point along a mountain ridge or the top of a mountain.
  • Crevasse: A deep crack or fissure, especially in a glacier or ice sheet.
  • Drumlin: A smooth, elongated hill formed by glacial action, often with a streamlined shape.
  • Escarpment: A steep slope or cliff, typically separating two level areas.
  • Foothill: A low hill or mountain at the base of a larger mountain or mountain range.
  • Gorge: A narrow, deep valley with steep sides, often carved by a river.
  • Gully: A deep, narrow channel or ravine formed by erosion, often on the side of a hill or mountain.
  • Hill: A raised area of land that is lower in elevation than a mountain, with a rounded summit.
  • Kettle: A depression or hole in the ground formed by the melting of a detached block of glacial ice.
  • Ledge: A narrow, flat projection or shelf of rock, often found on the side of a cliff or mountain.
  • Overhang: A horizontal projection of rock or soil that extends outward from a vertical surface, creating a ledge or shelter below.
  • Palisade: A line of steep cliffs or rock formations, often arranged in a row.
  • Peak: The pointed top or summit of a mountain.
  • Pinnacle: A tall, pointed peak or rock formation.
  • Plateau: A flat or gently sloping elevated area that is higher than the surrounding land.
  • Precipice: A very steep rock face or cliff, often with a sheer drop, conveying a sense of verticality and danger.
  • Ravine: A narrow, steep-sided valley or gorge, often with a watercourse at the bottom.
  • Ridge: A long, narrow elevated crest or chain of hills or mountains.
  • Scarp: A steep slope or escarpment, typically formed by faulting or erosion.
  • Slope: The inclined surface of a mountain or hill, indicating the steepness of the terrain.
  • Spur: A projecting ridge or elongated crest extending from a larger mountain or hill.
  • Summit: The highest point or peak of a mountain.
  • Valley: A low-lying area between hills or mountains, often containing a river or stream.

SNOW AND ICE

  • Avalanche: A mass of snow, ice, and debris rapidly descending a mountain slope.
  • Firn: Dense, compacted snow that has undergone partial melting and refreezing, forming a granular and crystalline structure.
  • Glaciers: A large mass of ice that forms from accumulated snow and moves slowly down a mountain valley or spreads outward from a central point.
    • Ablation Zone: The lower portion of a glacier where melting and sublimation exceeds the accumulation of new snow, leading to a net loss of ice.
    • Drumlin: A smooth, elongated hill formed by glacial action, often with a streamlined shape.
    • Ice Sheet: A massive, continent-sized glacier that covers a significant portion of the land, such as the Antarctic or Greenland Ice Sheet.
    • Moraine: Accumulation of rock debris and sediment carried and deposited by a glacier.
  • Ice Cap: A smaller-scale version of an ice sheet, covering a more localized area.
  • Ice Tongue: An elongated, narrow extension of a glacier that protrudes into the sea.
  • Icefall: A section of a glacier where the ice flows rapidly over uneven terrain, creating a series of frozen cascades.
  • Kettle: A depression or hole in the ground formed by the melting of a detached block of glacial ice.
  • Névé: Granular, partially compacted snow that is in the process of transforming into glacial ice.
  • Penitentes: Tall, thin blades or spires of hardened snow or ice, often found at high altitudes and formed by
  • Serac: A large, block-like mass of ice found on the surface of a glacier, often formed by the intersection of crevasses.
  • Snow Line: the altitude at which some snow remains year-round. May be only in specific places on the mountain.
  • Snowpack: Layers of accumulated snow on the ground, formed by the compaction of successive snowfalls. It plays a crucial role in mountain ecosystems, influencing factors like avalanche risk and seasonal snowmelt.
  • Snowfield: A relatively flat and expansive area covered with snow, often found on mountains or in polar regions.

LAND MOVEMENT AND SIMILAR

  • Landslide: The movement of rock, soil, and debris down a slope, often triggered by factors like heavy rainfall or earthquakes.
  • Rockslide: A rockslide is a type of landslide where rocks and debris slide down a steep slope. It primarily involves the movement of large rock masses and may include boulders, stones, and fragments of bedrock.

OTHER

  • Fauna: the animal life in a particular area, including all animal species, from insects and fish to mammals and birds.
  • Flora: a term for the plant life in a particular area, encompassing all plant species, from trees and shrubs to grasses, flowers, and mosses.
  • Runoff: The flow of water over the land surface, often occurring after rainfall or snowmelt.
  • Tree Line: the area where trees can no longer grow. Found toward the top of tall mountains. Tree lines are affected by temperature (colder the higher up you go), solar radiation (again, the higher up you go, the more of it there is), wind erosion (can blow away soil), snowpack (long lasting or deep snow affects plant’s ability to grow), and the slope (how steep it is). That’s not an inclusive list but covers some of the big ones.
  • Tundra: An ecosystem characterized by low temperatures and limited vegetation, often found at high altitudes or latitudes.

Mountains are dynamic places, and where they are changes everything from their shape to what plant life grows on them. I live near the Rocky Mountains in Canada. I can tell you from experience how widely varied mountains look. Some come in long rows (ranges) with not a lot of peaks higher than the others (see first picture below), others may stand above their neighbours looking like jagged, broken teeth, their peaks thin and crumbling. In some you might see striations (lines) of different rocks lying more or less horizontally. In others, those striations may be almost vertical, showing how the rock came up out of the ground at a steep angle. Some of the coolest mountains I’ve seen are where the rocks look like they melted, the rock rippled and wavy like water that froze mid-movement.

Unsurprisingly, climate impacts what vegetation grows on the mountains. For example, on the prairie side of the mountains I live by, there are hardier, more cold resistant vegetation. Forests there are comprised mainly (though not entirely and in all areas) of sharp, pine trees with short, hard needles. The forest floor is covered in plants such as bearberry, spreading junipers, some wildflowers, tiny wild strawberries, and wolf willows. However, it doesn’t take long for the plant life to start changing as you get into British Columbia (heading west toward the ocean). Plants there tend to include a lot more ferns (with areas covered in them like rainforests), hemlock, cedars, and pines with longer and softer needles.

Below are some images to help peak your creativity! (pun not intended but totally accepted) Images are from Google Maps. Take some time to look at them and think for yourself how you might describe what you see.

In this image you see (bottom up): long sparse grasses poking out from rocky soil, varigated forest with a blend of evergreen and deciduous trees with the first hints of yellow leaves peeking through, gentle slopes that become steeper until the forest can no longer hold on, scars of old rockslides being reclaimed first by grasses then by the trees, the cuts of water erosion where the winter’s snows melt and create narrow paths in the rock, a stone ridgeline that rises to just beneath the clouds, bands of different coloured rock that were pushed from the ground, at times at steep angles that exemplify the enormous forces that created the mountains themselves.
In this image you see (bottom up):the pine forests giving away to the patchwork of gasses and wind-worn stone of the dusty peaks, deep gaps between the peaks their sides so steep and rugged no plant life can take hold, peaks with tings of red from iron in the stone, smaller repeating peaks cradling jagged mountaintops, peaks that curve inward as though shying away from the sky
In this image you see (bottom up): millions of years of rubble from the crumbling mountain tips, hardy grasses and shrubs clinging to the wind-swept mountain tops, cliffs plunging for hundreds of feet with hills of debris at their feet, deep and wide valleys full of forests with rivers winding through them, snow and ice clinging to every surface it can with stripes forming where layers of rock change, snow fields that have settled among the steep and crumbling peaks sometimes deeper than houses, the remnants of a once mighty glacier with its regression leaving behind fields of rock ground down to gravel, peaks that pierce sporadic clouds

Want to see more pictures of mountains to see how they vary? Here’s a link to a google image search.

TIP: Don’t live near mountains? Google Maps is a great tool to get a good look at what mountains look like and you can even find images taken as people hike the paths with 360-degree cameras on their heads! Search “Google Maps” and a general location. Open Google Maps, zoom into an area with roads, then click and drag the little yellow man icon onto the road. You can now see all the pics! Keep an eye out for hiking trails! This can show you everything from the mountains to the landscapes, to the plants in the region! Sometimes, you can get into some pretty remote areas!

DESCRIPTIVE EXAMPLES

  • The mountains disappeared into the sheet of white cloud blocking out the sky. Between them, the knee-deep snow, and how the mountains themselves pressed in from all sides, claustrophobia itched under Renard’s skin. He hugged his arms around him as he gazed out the window of the lodge, his legs sparking with a need to run. But the closest town was through the pass and impossible to reach this time of year. In the other direction, it would take weeks to reach the nearest signs of civilization.
  • With every step through the rugged pass, the weight of desperation grew heavier on the settler’s shoulders. The snow-capped summits were unforgivingly cold despite spring arriving a few weeks back. Their food stores were getting low, and while they could find a few rugged berries frozen shriveled by the winter, they were mealy and more seed than fruit. Guma hoped they could track a herd of goats. So far, they’d seen the signs – hoof prints in the snow and mud – but the herd seemed to be climbing higher, moving toward the ragged peaks where loose rock threatened to send anyone who followed tumbling down the mountain.

DESCRIPTIVE WORDS FOR MOUNTAINS

  • Alpine
  • Austere
  • Brooding
  • Commanding
  • Craggy
  • Ephemeral
  • Enduring
  • Enigmatic
  • Ethereal
  • Formidable
  • Grandiose
  • Majestic
  • Mystical
  • Overwhelming
  • Rugged
  • Sentinel
  • Serene
  • Silhouette
  • Towering
  • Magnificent
  • Spectacular
  • Impressive
  • Regal
  • Stately
  • Massive
  • Imposing
  • Breathtaking
  • Awe-Inspiring
  • Barren
  • Chilly
  • Dangerous
  • Alien
  • Foreboding
  • Cloud-covered heights
  • Wind-swept ridges
  • Cliff-lined slopes
  • Stunning
  • Dramatic
  • Rocky
  • Jagged
  • Steep
  • Serpentine trails
  • Eroded pathways
  • Glacial valleys
  • Frosty peaks
  • Lofty
  • Highland
  • Snow-Capped
  • Glacial
  • Frozen
  • Icy
  • Glacier-clad
  • Misty
  • Foggy
  • Mist-shrouded
  • Windy
  • Gusty
  • Rugged terrain
  • Crisp
  • Intimidated
  • Malevolent
  • Precarious
  • Snow-capped peaks
  • Frozen wilderness
  • Twisting
  • Curling
  • Winding
  • Angular
  • Crinkled
  • Crumpled
  • Folding
  • Layered
  • Tiered
  • Straited
  • Ribbed
  • Sloping
  • Untouched
  • Sharp
  • Crumbling
  • Windswept
  • Steep
  • Blanketed in forest
  • Dramatic cliffs
  • Untouched wilderness
  • Rocky outcrops
  • Cliffside panorama
  • Solitary summit
  • Jagged peaks
  • Otherworldly
  • Treacherous
  • Uncharted
  • Unstable
  • Scarred

WORDS TO DESCRIBE SMELLS YOU MAY ENCOUNTER IN THE MOUNTAINS

Depending on where you are in the mountains, and where those mountains are, will impact what the smells are like. I’ll get into smells more in dept in several sections below but will summarize here. Mountains tend to be remote areas and prone to high winds. As such, they generally smell clean, fresh, crisp. The air lacks pollution you see around cities and towns. In forested areas, it may (especially in seasons outside winter) smell earthy, oxygen rich, or like the plants surrounding you. For example, in the Rockies near me, you often smell juniper in the air. In rocky areas with little plant life there may be a distinct mineral-rich scent or a dusty smell. Weirdly, it smells like rocks where there are lots of rocks 😉. Around lots of snow or ice, on top of being cool and crisp smelling, it smells like mineral-rich water. You can see further notes on that in related sections below.

FUN FACT: 75-95% of taste is actually smell*! Anything in the smell categories you could legitimately write as a taste…just be careful with not going too far with that. A sizable portion of the population doesn’t know that smell and taste are linked or linked this strongly.

*source:https://www.researchgate.net/publication/283974876_Just_how_much_of_what_we_taste_derives_from_the_sense_of_smell#:~:text=of%20colour%20thereon.-,…,the%20dominant%20sense%20in%20tasting.

Describe It: Mountain Lakes, Rivers, Streams, and Waterfalls

You may wonder where that mountain water comes from. Afterall, there’s a lot of it and water doesn’t tend to run uphill. Well, the primary source of water in mountains is precipitation, which includes rainfall, snowfall, sleet, and hail. Moisture-laden air masses encounter mountains, causing them to rise and cool, leading to condensation and precipitation. Snow accumulates in high-altitude areas forming snowpacks and even glaciers. As these melt, they create runoff that feeds into lakes, rivers, streams, and more. It should also be noted that water sources may also gather underground, where they’re less likely to suffer from evaporation. These underground water sources are things like springs (which often make their way to the surface) and aquifers.

source: https://www.banfflakelouise.com/experiences/moraine-lake

The above lake, Moraine Lake, is world famous for its colour and scenery. Mountain lakes tend to have vivid colours like this due to the amount of minerals in them from erosion of the surrounding mountains. Colours may vary at different times of the year and depend on the minerals involved. For example, below is Cameron Falls in Waterton, AB. The area is well known for the red rocks (see the picture gallery at the end of this D-Script). At certain times of year, the falls look dramatically different (though, admittedly, the pink falls are super rare).

Lake shores tend to have rocks anywhere from about the size of a loaf of bread to grains slightly larger than sand, depending on the erosion levels, though sandy-like beaches are a little harder to come across if we’re talking lakes and not mountains protruding directly from the ocean. Oh, and some don’t have shores at all but are surrounded by cliffs and other times vegetation may go right up to the water (which is muddy and hard to walk in).

The rocks are typically smooth and rounded from water erosion unless they’re newly fallen. You’ll find several pictures in the gallery at the end of this D-Script.

Describing Mountain Lakes

  • Shimei set their bedroll down a few meters from the vibrant blue waters of Mirror Lake before heading to the rocky shore. They navigated the haphazard blocks of stone carefully. Most were smoothed by ages of erosion, but some closer to the ring of surrounding mountains were sharper, more recently liberated from the peaks.
  • “Nope! Nope! Nope!” Heidi stepped out of the crystal waters of Cat’s Eye Lake, her toes already frozen by the glacial run off. She wasn’t sure what she’d expected, but it certainly hadn’t been water just shy of the temperature of ice and stones still somehow covered in a slimy layer of…whatever that was. (note: the slimy stuff that can be present is known as biofilm)
  • The surface of the teal lake was thrust into waves by the unforgiving wind rushing through the mountain pass. Luiz stood on the rocky shore studying the rainbow of rocks beneath him, fascinated by their variation and the sparkling quartz in so many.

DESCRIPTIVE WORDS FOR MOUNTAIN LAKES

  • Alien
  • Aquamarine
  • Azure
  • Blissful
  • Blue
  • Breathtaking
  • Crystal-clear
  • Crystal depths
  • Crystalline
  • Dreamlike
  • Emerald
  • Enchanted
  • Enchanting
  • Enigmatic
  • Enveloping
  • Ethereal
  • Ephemeral
  • Glistening
  • Glistening pool
  • Green
  • Harmonious
  • Hidden
  • Idyllic
  • Invigorating
  • Isolated
  • Luminous
  • Majestic
  • Mesmerizing
  • Mirrored
  • Mystic
  • Mysterious
  • Mystical
  • Nestled
  • Peaceful
  • Picturesque
  • Pristine
  • Reflective
  • Resplendent
  • Sacred
  • Scenic
  • Secluded
  • Serene
  • Shimmering
  • Silent
  • Solitude
  • Solitary
  • Spectacular
  • Spellbinding
  • Still
  • Sublime
  • Surreal
  • Tranquil
  • Turbulent
  • Undisturbed
  • Unfathomable
  • Frigid
  • Glacial

WORDS TO DESCRIBE THE TASTE OF MOUNTAIN LAKE WATER

  • Crisp
  • Fresh
  • Pristine
  • Pure
  • Refreshing
  • Clean
  • Clear
  • Cool
  • Invigorating
  • Mountain-fresh
  • Natural
  • Untainted
  • Untouched
  • Alpine
  • Crystalline
  • Untamed
  • Untouched
  • Wilderness
  • Glacial
  • Icy
  • Snow-fed
  • Spring-fed
  • Arctic
  • Flavourful
  • Unpolluted
  • Unadulterated
  • Unspoiled
  • Virgin
  • Freshwater
  • Wild
  • Primal
  • Uncontaminated
  • Untouched
  • Unaltered
  • Unspoiled
  • Mineral-rich

WORDS TO DESCRIBE THE SMELLS OF MOUNTAIN LAKES AND THE AIR AROUND THEM

  • Crisp
  • Fresh
  • Piney
  • Earthy
  • Floral
  • Clean
  • Cool
  • Mineral Rich
  • Refreshing
  • Aromatic
  • Pristine
  • Herbal
  • Scented
  • Fragrant
  • Invigorating
  • Scented by Juniper
  • Fresh
  • Earthen
  • Brisk
  • Woodsy
  • Alpine
  • Refreshing

WORDS TO DESCRIBES SOUNDS NEAR MOUNTAIN LAKES

For sounds, one should look up the wildlife in the area (or of the country inspring your setting) to understand what sort of animals would be nearby and what noises they make. In the below, I’ve excluded human sounds such as tourists and boats, windsurfers, etc., but it’s common to find tourist sites set up around lakes, or see people camping nearby, if not people having cabins.

  • Babbling
  • Birdsongs
  • Breezes
  • Cascading waters
  • Chirping birds
  • Bird calls
  • Chirping insects
  • Howls of wolves
  • Yipping of foxes
  • Calls of elk and deer
  • Flowing water
  • Murmuring of nearby brooks
  • Rustling of leaves
  • Silence
  • Rushes of wind
  • Splashing of water (in the wind)
  • Splashing of rocks falling from surrounding mountains
  • Lapping of water on the rocks (no tides, but wind can stir up some waves)
  • Crickets
  • Babbling of nearby streams
  • Creaking of trees in the wind
  • Wind rushing through the trees
  • Splashing of fish
  • Thunder (from waterfalls)
  • Crashing (of waterfalls)
  • Wind in the trees
  • Gurgling
  • Trickling
  • Splashing

Waterflow in the mountains can be as meagre as a trickle you barely see in the dirt to raging rivers tumbling down their sides, possibly creating waterfalls. Sometimes you’ll see dry, eroded paths in the dirt where water has obviously dug into the ground. These are often seasonal streams or creeks, with water running down them only in certain months. I will talk a little more about almost dry and dry riverbeds later.

BUT FIRST, DEFINITIONS

Brook: A brook is a small, shallow stream or creek. Brooks have a gentle flow and clear, babbling water. They often meander through valleys, meadows, or forests.

Creek: A creek is a small, narrow stream or brook. They have a shallow depth and slow-moving water, and they may flow over rocks, gravel, or sand. Creeks are typically smaller than rivers and streams.

Hot Springs: Hot springs are natural sources of water that emerge from the ground at elevated temperatures. They can be warm or so hot they can kill anything that jumps in. Formed by geothermal activity, hot springs occur when groundwater is heated deep within the Earth’s crust and rises to the surface through fractures or faults. (see also Springs)

Rapids: Rapids are a section of a river where water flows swiftly over rocks, creating turbulence, waves, and sometimes whitewater (see also White Water Rapids). Rapids are typically found in areas where the riverbed is steep or obstructed by rocks, boulders, or other obstacles.

River: A river is a large, flowing body of water that typically flows in a natural channel toward an ocean, sea, lake, or another river. Rivers are characterized by their continuous flow, significant volume of water, and the presence of tributaries, which are smaller rivers or streams that flow into the main river.

Rivulet: A rivulet is a small, narrow stream or brook, often used to describe a tiny or shallow flow of water. Rivulets have a gentle flow and shallow depth.

Stream: A stream is a small, narrow body of flowing water. Streams may originate from springs or runoff from rain and/or snow and flow downhill, eventually joining larger bodies of water such as rivers, lakes, or oceans. Streams are generally smaller in size and volume compared to rivers.

Spring: A spring is a natural source of water that emerges from the ground, often at the base of hills or mountains. Springs occur when groundwater reaches the surface through an opening in the Earth’s surface, such as a crack or fissure. Springs may produce a continuous flow of water or intermittently release water depending on the local hydrology.

White Water Rapids: White water rapids are sections of a river where the water flows swiftly over rocks, creating turbulent, frothy, and aerated water with whitecaps and waves. These rapids are characterized by their intense, churning water. The term “white water” refers to the foamy appearance of the water caused by the turbulence and aeration as it rushes downstream. In the picture gallery at the end of this D-Script is a picture of white water.

Describing Rivers and Streams

DESCRIPTIVE WORDS FOR RIVERS AND STREAMS

  • Azure
  • Babbling
  • Blue
  • Brisk
  • Bubbling
  • Cascading
  • Churning
  • Clear
  • Converging
  • Coursing
  • Crashing
  • Crystal-clear
  • Crystaline
  • Current
  • Dangerous
  • Eerie
  • Flowing
  • Foaming
  • Fresh
  • Glistening
  • Gurgling
  • Gentle
  • Green
  • Gushing
  • Icy
  • Invigorating
  • Luminescent
  • Majestic
  • Meandering
  • Muddy
  • Murmuring
  • Picturesque
  • Pristine
  • Rapid
  • Rapids
  • Raging
  • Rippling
  • Rivulet
  • Roaring
  • Rushing
  • Serene
  • Shimmering
  • Snaking
  • Sparkling
  • Splashing
  • Thundering
  • Torrential
  • Tranquil
  • Trickling
  • Turbulent
  • Welling
  • Whirling
  • White
  • Wild
  • Winding
  • Zigzagging

WORDS TO DESCRIBE THE TASTE OF MOUNTAIN WATER

  • Crisp
  • Fresh
  • Pristine
  • Pure
  • Refreshing
  • Clean
  • Clear
  • Cool
  • Invigorating
  • Mountain-fresh
  • Natural
  • Untainted
  • Untouched
  • Alpine
  • Crystalline
  • Untamed
  • Untouched
  • Wilderness
  • Glacial
  • Icy
  • Snow-fed
  • Spring-fed
  • Arctic
  • Flavourful
  • Unpolluted
  • Unadulterated
  • Unspoiled
  • Virgin
  • Wild
  • Primal
  • Uncontaminated
  • Untouched
  • Unaltered
  • Unspoiled
  • Mineral-rich

WORDS TO DESCRIBES SOUNDS NEAR RIVERS AND STREAMS

For sounds, one should look up the wildlife in the area (or of the country inspring your setting) to understand what sort of animals would be nearby and what noises they make. In the below, I’ve excluded human sounds such as tourists and boats, windsurfers, etc., but it’s common to find tourist sites set up around lands, or see people camping nearby, if not people having cabins.

Larger rivers that are extremely active may send off spray and roar like thunder. Sometimes, this sound is so loud it’s hard to hear someone speaking beside you. This is more common around waterfalls but can apply here occassionally too.

Anytime there is a large amount of moving water in the mountains, the sound of it can be heard from far away, even in forests. This typically sounds like a rumble of thunder that doesn’t stop or a train rolling by.

  • Babbling
  • Birdsongs
  • Breezes
  • Cascading waters
  • Chirping birds
  • Bird calls
  • Chirping insects
  • Howls of wolves
  • Yipping of foxes
  • Calls of elk and deer
  • Murmuring of nearby brooks
  • Rustling of leaves
  • Silence
  • Splashing
  • Trickling
  • Rushes of wind
  • Splashing of water (in the wind)
  • Splashing of rocks falling from surrounding mountains
  • Lapping of water on the rocks (no tides, but wind can stir up some waves)
  • Babbling of nearby streams
  • Creaking of trees in the wind
  • Wind rushing through the trees
  • Splashing of fish
  • Thundering
  • Crashing (of water against rocks)
  • Wind in the trees
  • Gurgling
  • Crickets
  • Flowing water

Old Partially Dry or Dry Riverbeds

Mountains are full of riverbeds that once were home to raging rivers that have now disappeared or may only be a trickle in comparison to their once mighty flows. This can happen for numerous reasons including having been redirected by erosion or rock/landslides, glacial retreat, low precipitation levels, or even going underground. Additionally, some riverbed-like scars can be seen from past flooding events that found a workable channel and washed away all the dirt.

Finally, another reason it may be dry – as we discussed before – is that it could be seasonal. That is, it only has water in it during certain times of the year when snow and ice melt are at its highest.

These beds can look wildly different depending on how long it’s been since the river dried and/or if it experiences periodic flooding throughout the year. Plants may have moved in, often starting with grasses and wildflowers, and are slowly erasing the scar left behind. Or a winding path may be evident by the string of smooth rocks that once made up the riverbed.

Pictures of these things can be seen in the gallery at the end of the D-Script.

Mountain waterfalls are formed as rivers or streams cascade down steep cliffs or rock faces in mountainous terrain. They typically originate from melting snow, glacial runoff, or alpine lakes. I won’t get into too many excess details about sounds, smells, etc as I did with the other water features, as they often overlap. However, I will provide some extra context.

TYPES OF WATERFALLS

Cascade: A series of small waterfalls descending over a rocky slope, often with a gentle flow.
Plunge: A waterfall with a steep drop, where the water plunges vertically from a height, creating a dramatic effect.
Tiered: Consists of multiple levels or tiers of falls, with each tier flowing into the one below, creating a staircase-like effect.
Horsetail: Waterfalls where the descending water maintains contact with the rock face throughout its descent, resembling the flowing tail of a horse.
Cataract: A powerful and turbulent waterfall characterized by a large volume of water plunging over a precipice, creating a thunderous roar and heavy mist.
Veil: Waterfalls with a wide, thin sheet of water flowing evenly over a rock face, resembling a delicate veil.
Fan: Waterfalls that spread out horizontally as they descend, resembling a fan shape.
Ribbon: Narrow and elongated waterfalls that flow evenly over a vertical or nearly vertical rock face.
Free-falling: Waterfalls where the water descends freely without obstruction or contact with the rock face, creating a clear, uninterrupted drop.
Slide: Waterfalls where the water glides smoothly over a sloping rock surface, creating a sliding effect.

Waterfalls may completly freeze or only partially freeze during winter. Here are some inspiring pictures of frozen waterfalls.

THINGS TO KNOW ABOUT WATERFALLS

  • Waterfalls can trickle or they may rage, depending on the amount of water coming down them.
  • Many waterfalls roar like constant thunder, a sound evident in the areas surrounding them. You may hear a waterfall 20 minutes before you find it.
  • Waterfalls kick up a lot of spray, making everything around them wet. This makes rocks slippery, earth muddy, and the air humid.
  • Because of the spray, waterfalls might reflect rainbows – depending on the angle you’re viewing them of course!

EXAMPLES OF WATERFALL DESCRIPTIONS

  • Nestled amidst rugged cliffs and verdant foliage, the waterfall cascaded gracefully, its frothy veil shimmering in the sunlight. The melodic rush of water echoed through the canyon, harmonizing with the rustle of leaves in the gentle breeze.
  • The waterfall plunged majestically from a lofty cliff, sending plumes of mist soaring into the air.It crashed into the rocky basin below, the thunderous roar reverberating through the surrounding landscape
  • The waterfall tumbled down the mountainside in a mesmerizing display of cascading beauty. Its iridescent waters danced and sparkled, casting prismatic hues in the sunlight.

WORDS TO DESCRIBE WATERFALLS

  • Awe-inspiring
  • Alluring
  • Babbling
  • Breathtaking
  • Captivating
  • Cascading
  • Crashing
  • Crystal-clear
  • Enchanting
  • Enrapturing
  • Ethereal
  • Exhilarating
  • Foaming
  • Forceful
  • Frothing
  • Gentle
  • Glistening
  • Harmonious
  • Hypnotic
  • Inspiring
  • Invigorating
  • Luminous
  • Majestic
  • Meditative
  • Melodic
  • Mesmerizing
  • Misty
  • Mystical
  • Plunging
  • Pounding
  • Prismatic
  • Refreshing
  • Reverent
  • Reverberating
  • Rippling
  • Roaring
  • Rumbling
  • Rushing
  • Shimmering
  • Serene
  • Soothing
  • Spectacular
  • Sparkling
  • Spellbinding
  • Splashing
  • Surreal
  • Tumbling
  • Thunderous
  • Timeless
  • Torrential
  • Transformative
  • Transcendent
  • Trickling
  • Trilling
  • Uplifting
  • Veiling
  • Whispering

Valleys are pockets of land nestled between mountain ranges. Enclosed by towering peaks, they may be grassy or forested, with or without meandering rivers or streams. Around them, the mountains may unfold in gentle slopes, or the valley may be enclosed by severe cliffs. Mountain ranges are full of valleys.

  • U-shaped Valleys: Carved by glaciers, these valleys have a characteristic U-shaped cross-section.
  • V-shaped Valleys: Formed primarily through river erosion, these valleys have a V-shaped cross-section.
  • Hanging Valleys: Smaller valleys that intersect a larger, main valley and are typically formed by tributary glaciers.
  • Box Canyons: Deep, narrow valleys with high vertical walls on either side, often formed through erosional processes.
  • River Valleys: Many mountain valleys are carved by rivers and streams, which erode the landscape over time. River valleys can vary in size, depth, and width, depending on factors such as the volume of water, slope, and underlying rock types.
  • Glacial Valleys: Glacial activity can shape mountain valleys, especially in regions with a history of glaciation. Glacial valleys often exhibit distinctive features such as moraines, cirques, and hanging valleys.

As valleys tend to be rich, fertile areas with rivers and even lakes, people have historically set up settlements in these areas, often near mountain passes to ease travel. Of course, as these are depressions between mountains, they can suffer from the impacts of events such as rockslides, landslides, avalanches, and flooding.

Remember under lakes I talked about how water tends to be brilliantly coloured due to minerals leeched from the rocks by erosion? Well, in valleys and meadows those minerals also run into the soil. This helps support lush vegetation. As such, animals also tend to flock there.

Valleys can run for long stretches through the mountains, creating passes that are easier to navigate than the trecherous slopes surrounding them. Passes may close over in the winter due to heavy snow. Even in modern times, there are multi-lane roads that go through the mountains which close over the snowy seasons.

Describing Valleys and Meadows

  • A haven of serenity between the towering peaks, the valley was carpeted with emerald grasses and wildflowers. Crystal-clear streams murmured while towering pines waved in the steady wind.
  • As the caravan traversed the Sierra Anvil Mountains, they stumbled on a valley untouched by time. Gareth called for a halt and the wagons clanked as the horses stopped moving. The others watched him expectantly, wearily, as he surveyed the steep mountain faces, noticing the large amount of rock piled at the base of one mountain peak. “A little further,” he called, not wishing to set up camp where the mountain could crash down on them.
  • Immensely deep valleys snaked through the rusty Martian terrain like veins. The crimson soil here was redder than elsewhere, the iron content significantly higher. Machines working to terraform the planet rumbled and sighed in the background, condensation building into small streams that ran into the dusty soil.
  • In the shadow of the Blackpeak Mountains, the Forbidden Vale was in perpetual twilight. Mist clung to the gnarled trees, and a haunted wind whispered through the narrow passages between the hills.

DESCRIPTIVE WORDS FOR VALLEYS / MEADOWS

  • Ephemeral
  • Enchanting
  • Fertile
  • Hidden
  • Isolated
  • Lush
  • Mystical
  • Resplendent
  • Secluded
  • Serene
  • Secretive
  • Tranquil
  • Windy
  • Untouched
  • Verdant
  • Delicate
  • Eerie
  • Emerald
  • Otherworldly
  • Winding
  • Forested
  • Promising
  • Rock-strewn
  • Misty
  • Fog-covered
  • Plentiful
  • Flower-filled
  • Peaceful
  • Solitary
  • Shaded
  • Sun-dappled
  • Idyllic
  • Picturesque
  • Quaint
  • Rustic
  • Scenic
  • Green
  • Vibrant
  • Teeming
  • Abundant
  • Charming
  • Colourful
  • Fragrant
  • Gentle
  • Harmonious
  • Inviting
  • Grassy
  • Shimmering
  • Undulating
  • Blossoming
  • Flourishing
  • Fresh
  • Dewy
  • Enveloped
  • Blissful
  • Welcoming
  • Calm
  • Sunny
  • Warm
  • Bright
  • Majestic
  • Abloom
  • Dreamy
  • Alive
  • Magical
  • Dreamlike
  • Invigorating
  • Enchanted
  • Hushed
  • Ethereal
  • Quiet
  • Melodic
  • Gently sloping
  • Graceful
  • Green

Foothills surround mountainous areas and can be covered in forests, shrubs, or be grassy. They can have areas where rock peeks through or be unnervingly smooth. They also tend to get bigger the closer to the mountains you get. Imagine the geologic forces that shoved those mountains up so high. That obviously would have affected the surrounding area as well, causing ripples that get smaller the further away from the source they are. Those ripples would be foothills.

Here is their progression in the Rocky Mountains of Canada (all images from Google Maps):

About an hour drive away from the mountains (at 100 km/hour), the foothills become evident but are still relatively small.
On this ridge, it’s still about 20 minutes to the mountains. You can see some hilly, treed foothills and some smoother ones, as well as some progression in height before reaching the mountains themselves.
Here, we’re really close to the mountains, driving through the larger foothills that are immediately before them.
The last foothills before hitting the mountains themselves (in the background).

Foothills can also look like this:

Describing Foothills

  • In summer, the foothills rolled into the distance in variations of greens. Emerald hues of long, whispering grasses led into the rich, dark greens of pine forests, their tall spires periodically broken apart by patches of leafy trees. By the fall, everything but the forests would be brilliant gold before fading into dead browns.
  • Clouds had settled between the flowing hills, winding through the valleys like a great white serpent. Smooth grassy peaks dominated the landscape before they themselves were put to shame by the snow-capped spires beyond.
  • Marvin climbed the ladder to the walkway near the top of the palisades, pulling his blanket tight around his shoulders. It was his favourite view, despite the dangers he knew lurched in the meandering slopes of the foothills between the settlement and the Sunswept Mountains. Frost glistened on the long grasses and on the leaves of oak trees that were just starting to turn brilliant yellows and reds. He was surprisingly at peace despite how frevently he argued against coming here in the first place.
  • Thousands of travelers had worn a thin path that wove through the verdant foothills and fields of rugged yellow daisies. Deena moved carefully, her shoes squishing into the muddy surface until the threat of slipping drove her up into the grass.

DESCRIPTIVE WORDS FOR FOOTHILLS

  • Sun-kissed
  • Sylvan
  • Tranquil
  • Verdant
  • Panoramic
  • Serpentine
  • Craggy
  • Dappled
  • Majestic
  • Rolling
  • Rustic
  • Gently undulating
  • Forested slopes
  • Rippling
  • Swelling
  • Winding
  • Curving
  • Snaking
  • Labyrinth
  • Scenic vista
  • Serene hillsides
  • Gentle
  • Rising
  • Low-lying
  • Terraced
  • Forested
  • Wooded
  • Grassy
  • Grass-covered
  • Rocky
  • Stony
  • Shrub-covered
  • Bumpy
  • Scenic
  • Picturesque
  • Rural
  • Countryside
  • Idyllic
  • Tranquil
  • Serene
  • Peaceful
  • Quiet
  • Remote
  • Fertile
  • Cultivated
  • Rich
  • Lush
  • Plentiful
  • Bountiful
  • Teeming
  • Broad, oceanic waves
  • Stretching
  • Far-reaching
  • Vast
  • Secluded
  • Untouched
  • Wild
  • Unspoiled
  • Sloping Terrain
  • Verdant hillsides
  • Rocky inclines
  • Treed slopes

Caves aren’t just found in mountains, but they are fairly common there. And, while there are several different types of caves, I’m not going to dive too deep into that. I will, however, provide links to where you can learn more about them.

TIP: Your character is trying not to get caught by those pursuing them. Even if they’re in a cave, they should not light a fire lest it be seen! Even going around a corner isn’t enough to hide light in the dark. Thinking of moving them further back into the cave? Well, airflow and smoke build up will rapidly become a problem.

What You Might Find in Caves

Cave Pools and Lakes: Formed by the accumulation of water within the cave, either from dripping water or underground streams. These pools can have unique ecosystems, including flora and fauna, which can get disrupted by human interaction. Additionally, these waters may host a variety of dangers, including additional water-filled caves that go much deeper or longer than expected or sudden narrowings. These dangers can kill even experienced divers, many falling to oxygen running out after they get disoriented within the underwater cave systems.

Chambers and Passageways: Caves can vary in size from small, cramped passages to expansive chambers large enough to hold entire buildings. Tight passages come with their own dangers, including adventurers getting stuck or unable to return the same way.

Columns: Columns are formed when stalactites and stalagmites grow together, eventually merging into a single column.

Flowstone: Formed by mineral-rich water flowing over surfaces, creating smooth, layered deposits.

Geological Formations: Caves often exhibit unique geological formations, including unusual rock layers, fault lines, and mineral veins, providing insights into the Earth’s history and processes.

Stalactites and Stalagmites: Formed by deposits of minerals (usually calcium carbonate) from dripping water. Stalactites hang from the ceiling, while stalagmites grow up from the cave floor.

Describing Caves

  • The party hiked to the dark entrance of the cave, but the Ranger was far ahead. She reached the opening and inspected the inside from the shadows. When she was confident it was uninhabited, she signaled to the team and moved inside. Parts of the floor were covered in stalagmites, narrowing the places they could set up their bedrolls, but further back the cave opened into a wider chamber. This area was dry and well ventilated, an ideal place to set up camp.
  • The entrance of the cave was guarded by luminous moss and sharp stone sentinels. Bioluminescent fungi cast an otherworldly glow upon the walls as his careless footfalls echoed into the deeper chambers.
  • Limestone walls rose high into the stone, but the cavern was narrow. Almost too narrow for passage. This was the only way through, however. Derrick steadied his nerves, wiping the sweat of claustrophobia from his brow, then took a deep breath and eased his way sideways into the passage.

DESCRIPTIVE WORDS FOR CAVES

  • Abyssal
  • Alien
  • Atmospheric
  • Barren
  • Carved
  • Chilly
  • Claustrophobic
  • Cold
  • Cracked
  • Crumbling
  • Cryptic
  • Creaking
  • Crystalline
  • Dark
  • Damp
  • Distant
  • Dizzying
  • Drowned
  • Dripping
  • Dusky
  • Echoey
  • Echo-filled
  • Echoing
  • Eerie
  • Earthy
  • Enigmatic
  • Enshrouded
  • Enveloping
  • Entrancing
  • Engraved
  • Foreboding
  • Forgotten
  • Forbidding
  • Frozen
  • Glistening
  • Gloomy
  • Grotto-like
  • Haunted
  • Hazy
  • Hallowed
  • Hidden secrets
  • Hidden wonders
  • Hidden
  • Humid
  • Hushed
  • Imposing
  • Immense
  • Jagged
  • Luminous
  • Malevolent
  • Muffled
  • Muted
  • Mysterious
  • Narrow
  • Obscure
  • Obscured
  • Ominous
  • Petrified
  • Pitch-black
  • Pulsating
  • Remote
  • Resonant
  • Rocky
  • Secret
  • Secretive
  • Secluded
  • Shadowed
  • Shadowy
  • Sinister
  • Sinuous
  • Silent
  • Solitary
  • Somber
  • Stalactite-covered
  • Stalagmite-covered
  • Sublime
  • Submerged
  • Subterranean
  • Surreal
  • Surreal echoes
  • Treacherous
  • Twilit
  • Twisting
  • Unexplored
  • Unfathomable
  • Unseen
  • Untouched
  • Veiled
  • Veined
  • Whispering

NOISES ONE MIGHT HEAR IN A CAVE

  • Bat wings flapping
  • Bat squeaking
  • Cave wind
  • Chirping insects
  • Cracking sounds
  • Crumbling rock
  • Creaking walls
  • Distant booming
  • Distant rumbling
  • Dripping water
  • Echoes
  • Echoing footsteps
  • Falling rocks
  • Grating noises
  • Hollow thuds
  • Howling wind
  • Muffled voices
  • Pattering rainwater
  • Rocks shifting
  • Rustling leaves (if vegetation is present)
  • Screeching bats
  • Scratching sounds
  • Slithering sounds
  • Splash of water
  • Scurrying rodents
  • Squeaking bats
  • Splash of water
  • Whispers of air

SMELLS ONE MIGHT ENCOUNTER IN A CAVE

  • Acrid
  • Alkaline
  • Ancient
  • Briny
  • Chilly
  • Cool
  • Damp
  • Dank
  • Decayed
  • Earthy
  • Fresh
  • Fungal
  • Metallic
  • Moldy
  • Musky
  • Musty
  • Mineral
  • Ozone
  • Pungent
  • Rotten
  • Salty
  • Smoky
  • Stagnant
  • Stale
  • Sulfurous
  • Wet

Mines are similar to caves in a lot of ways but are also unique places. Let’s start by talking about the dangers in mines, then the dangers in abandoned mines.

Mine Safety: Governments often have very strict rules around safety to keep miners (and towns like Frank) safe. To learn more about that, you can visit the US Department of Labor’s website for Mine Safety and Health Administration: https://www.msha.gov/safety-and-health/safety-and-health-materials/safety-topics

Dangers in Active Mines

Air Quality: Poor air quality is a common hazard in mines due to harmful gases, dust, silica, and lack of ventilation. Underground mines can accumulate toxic gases such as carbon monoxide, methane, and sulfur dioxide, which pose serious health risks to miners. Have you ever heard the phrase “Canary in the Coal Mine”? Well, that’s because a lot of canaries died to save human lives. You can learn about that at this page from the Smithsonian Magazine: The Story of the Real Canary in the Coal Mine

Proper ventilation, dust control measures, and personal protective equipment are essential for minimizing dust exposure which can cause respiratory diseases such as silicosis.

Collapse: Even though walls are reinforced, one of the most significant dangers in mines is the risk of collapse. Abandoned mines, in particular, may have unstable ceilings, walls, or floors, which can collapse without warning, trapping or burying individuals inside.

Explosive Atmospheres: Mines may contain flammable gases or combustible dust particles, creating significant risk of explosions. Ignition sources such as sparks from machinery, electrical equipment, or even static electricity can trigger them.

Fires: Fires occur in mines due to various factors, including electrical malfunctions, frictional heating, or ignition of flammable materials. Once ignited, fires can spread rapidly through mine shafts and tunnels, producing toxic smoke and hindering escape routes.

Floods: Mines located in flood-prone areas are susceptible to inundation during heavy rainfall or when nearby water bodies overflow.

Mechanical Hazards: Mines contain a lot of equipment such as conveyor belts, drills, and crushers, which pose crush, entanglement, and impact hazards to workers.

Radiation Exposure: Some mines, particularly those involved in uranium or rare earth element extraction, may expose workers to radiation hazards. Miners must receive adequate training and protective measures to minimize radiation exposure and mitigate health risks.

Temperature Extremes: Underground mines may experience temperature extremes, ranging from stifling heat in deep workings to bitter cold in unventilated areas. Miners must be prepared for temperature fluctuations and equipped with appropriate clothing and personal protective equipment.

Describing Mines

I’m not going to delve too deep into how to describe mines due to the infrequency they’re used in storytelling. But here are some resources that might help if you are writing about mines. Keep in mind, abandoned mines can be a lot different and very dangerous. We’ll discuss dangers and survival in caves and mines in an upcoming article under the skills and talents portion of the Making Your Characters Stand Out section.

Note, not all mines are holes in the side of a mountain. There are also pit mines.

Rockslides and Landslides

Every mountain has areas that crumble, some larger than others. Rockslides are typically caused by a combination of geological, weather-related, and human-induced factors. These events can vary in scale, from small rockfalls to large, destructive rockslides. Rockslides will knock down anything in their path, can block roads, and sometimes – as with the town of Frank, Alberta – wipe out entire towns. See the picture down there? There’s a part of a town under that. Or there was. Whatever debris is left over is buried under 150 feet of rock (there’s a closer pic of this in the gallery at the end of this D-Script).

source: https://www.albertasouthwest.com/resources/photo-gallery/frank-slide/

People for vast distances around heard this mountain come down. It’s said it took less than two minutes to happen and the sound was likened to ‘steam escaping under high pressure’ and roaring thunder.

INTERESTING FACT: While Frank Slide was caused by a lot of different factors, including human ones, the indigenous people of the area, the Blackfoot and Kutenai first nations, called Turtle Mountain ‘the mountain that moved’. No local first nations peoples would set up camp around it.

Talk of the slide starts at about 16:00

What Causes Rockslides and Landslides in General?

Weathering and Erosion: Over time, weathering processes such as freeze-thaw cycles, rainfall, snow and ice melt, and the expansion and contraction of rocks due to temperature changes weaken the structural integrity of rocks. Erosion, both physical (wind and water) and chemical, can further contribute to the breakdown of rock formations.

Earthquakes: Earthquakes can trigger rockslides by causing the ground to shake and dislodge rocks on steep slopes. The seismic activity can weaken the bonds between rocks and lead to their detachment.

Vegetation: The growth of vegetation can play a dual role. While plant roots can stabilize slopes and prevent erosion, the expansion of roots into rock crevices may also contribute to the fracturing of rocks.

Human Activities: Human-induced factors, such as construction, mining, road building, and excavation, can alter the natural stability of slopes. Changes in the landscape, including the removal of vegetation, can increase the risk of rockslides.

Topography: The steepness of a slope is a significant factor in rockslide occurrence. Steeper slopes are more prone to gravitational forces pulling rocks downhill. Additionally, the orientation of rock layers and the presence of joint systems in rocks influence their stability.

Geological Characteristics: Geological features, such as the type of rock, its structure, and the presence of faults or fractures, and heavier rocks on top of lighter and more likely to erode or fracture rocks, influence the susceptibility of slopes to rockslides. Certain rock types may be more prone to fracturing or weathering.

Aside from cracking and thundering noises, popping sounds can predict and imminent rockslide. The popping noises are from rocks breaking apart. Movement of the rocks and land is often said to be like water. In some of the videos below you can also hear it sounding a bit like rushing water as well.

Avalanches

Avalanches are rapid downhill movements of snow, ice, and debris down a mountain slope. They typically form when a layer of snow loses its cohesion and slides down a slope. This loss of cohesion can be triggered by various factors, including weather conditions, human activities, or natural events like earthquakes. Certain types of terrain are also more prone to avalanches. Factors include slope angle, the presence of wind-loaded slopes, convex features, and the type and stability of the snowpack.

It’s dangerous to get caught in an avalanche. Not only can the impact of the snow and debris cause injuries or death, but people caught in them often become disoriented. They may try to dig out but may not be able to tell which way is up. Friction from the slide can also cause the snow to melt then refreeze, becoming ice. People caught under the snow can suffocate, die from injuries, hypothermia, may suffer from frost bite, or if not found in time, can die of dehydration or starvation.

If you want to learn about avalanche survival, here’s a video about that.

Flash Floods and Hidden Dams

Flash flooding in mountainous regions can be particularly dangerous due to the steep terrain, rapid runoff, and the potential for debris flows. Flash floods occur when there’s sudden and intense rainfall, melting snow, or a combination of both, leading to a rapid increase in water flow in rivers and streams. In mountainous areas, flash floods can be exacerbated by the topography, as water quickly funnels down slopes and can accumulate in narrow canyons, leading to swift and powerful flows.

More than just water, flash flooding just like landslides and mudslides, bring debris (creating a debris flow), which is just as dangerous as the rushing water, if not more so.

Not quite as threatening but still a danger are that mountains can hide dams. Dams are managed and there is no warning when dam operators might open gates more to keep water levels safe. This can cause mountain rivers and streams to suddenly surge. Nearby travelers, if not paying attention or sleeping near water, may get swept away in the flow.

Flashfloods can repath rivers, causing rivers to dry up as they’ve been redirected elsewhere.

Glaciers

Glaciers are large masses of ice typically found in alpine regions, shaping the landscape with their slow movement. They cause significant erosion as they move, digging out valleys, dropping off large rocks in areas where those rocks are not generally found, and creating water channels and waterfalls. Climate change is reducing the size and number of glaciers found worldwide, as seen below.

Glaciers can be riddled with crevices and other dangers that may be hidden by snow or thin ice which may give way when someone walks on them. Additionally (and increasingly with climate change) large lakes of water can form behind ice walls. When those ice walls break up, the water is released and can cause devastating damage (see the flashfloods section).

These large masses of snow and ice naturally expand and retreat a certain amount every year. Their melting gives way to rivers and streams of glacial water.

source: https://www.climate.gov/news-features/understanding-climate/climate-change-mountain-glaciers

Snow

Snowfields, found in high-altitude and polar regions, persist year-round and contribute to alpine and glacial landscapes. They accumulate in cirques and sheltered areas, and are often associated with glaciers, where snowfall compacts into glacial ice over time. Snowfields reflect sunlight, maintaining cooler temperatures in the surrounding area.

In mountainous regions, snowfall can be heavy, creating dangers like unstable snowpacks and hidden crevices. Snow-related risks include hypothermia, injuries, dehydration, and starvation. Climate change has significantly impacted snow coverage, with noticeable reductions observed over the past decades. Writers can use historical snowpack data to envision medieval settings with more extensive snow coverage.

Rock Formations

Cliffs: Cliffs are vertical or near-vertical rock faces that often rise abruptly from the surrounding terrain. They are commonly formed through processes such as erosion, faulting, or the uplift of rock layers. Cliffs can vary in height, from small outcrops to towering rock walls.

Crags: A crag refers to a rugged rock formation, typically with steep or precipitous sides. Craggy landscapes are characterized by a series of rocky outcrops, and they may include features like jagged peaks, pinnacles, and steep slopes.

Caves: We’re going to get more into caves in a section below, including the dangers of, but for now…caves in mountainous regions are often formed through various processes, including dissolution by acidic groundwater, erosion by flowing water, or the collapse of underground chambers. Limestone and other soluble rock types are particularly conducive to cave formation. Caves may feature formations such as stalactites (hanging formations from the ceiling) and stalagmites (formations rising from the floor), which develop over time as mineral-rich water drips or flows through the cave.

Crevices: Crevices are narrow openings or fissures in rocks, often formed through processes like freeze-thaw cycles, erosion, or tectonic activity. They can range in size from small cracks to larger fissures that create intricate rock formations.

Hoodoos: These are typically found in badland areas, but can also be seen in some mountains, depending on composition. Tall, thin rock spires or columns with a distinctive and often whimsical appearance. These unique rock formations are typically found in sedimentary rock areas, shaped by the erosional forces of wind, water, and frost. Over time, the softer rock erodes away, leaving behind these towering and often surreal pillars. Hoodoos can be found in various environments, including desert landscapes and badlands. There are some fascinating legends around hoodoos told by indigenous people. You can read more here.

Rock Shelters: recessed areas in cliffs or rock faces that provide a natural overhang. They can be formed through erosion, weathering, or the geological processes that shape the surrounding rock. Rock shelters have been used by humans throughout history as shelters, habitation sites, or ceremonial spaces. Many rock shelters contain archaeological and cultural artifacts, offering insights into past human activities.

Talus Slopes: These consist of loose rock debris that accumulates at the base of cliffs or steep slopes. The rocks on talus slopes result from weathering and erosion of the surrounding rock faces.

Game Trails

Game trails can be found throughout the mountains. Sometimes, these narrow paths worn into the soil and inhibiting plant growth, can be hard to tell apart from where trickles of water may have worn the earth down. Still, they are common and tend to be hardened earth caused by consistent travel of animals (game). They may be the safest, most direct route somewhere, and often eventually lead to water or food sources, like valleys where they may graze.

We discussed before how weather in the mountains can be extreme, be that rain or snow, cold or heat. We also talked about how it can be fast-changing. There’s not too much more to add to that, but I thought I’d share a personal story to show you an example of this in action.

I’m an avid hiker. My parents took me up numerous mountains, and I’ve passed this legacy along to my kids who now love hiking. Part of this is, of course, discussing proper preparation, safety when it comes to different wildlife (mountain lions, bears, and even those deer and elk can be…moody), as well as the weather.

One day we descended a steep grassy hill into a huge river valley just below where we parked. This valley was originally into the ground by glacial retreat, and now contains a comparatively small river…although it’s not small and can swell quickly due to a damn being up stream.

Always one for teachable moments, I pointed to the surrounding mountains and talked about how fast the weather can change and some signs that were already visible that a change was coming. It should be noted that weather changes are not always visible, but as this river valley is so long and wide, we had a clear view for some distance.

The kids played down by the water while I kept my eye on the river levels in case the dam opened and on the sky. When I could see the clouds pulling down toward a distant slope, a clear sign of rain, I reiterated how fast the weather could change here and encouraged them to watch the rain approach as we returned to the car.

It was less than 5 minutes until that distant rain hit us. We needed to scramble up the steep grassy – and now soaking – hill to get to the car, so to say we were drenched is an understatement. Now, not even I was expecting it to hit quite that fast. I thought we’d at least make it up the hill, but that’s just how fast these things can happen.

As a note, it was a sunny and calm day moments before!

IRELAND’S HIGHEST MOUNTAIN: Corrán Tuathail (1,038 metres or 3,407 feet)

source:https://www.hiddenirelandtours.com/day-excursions/day-walks-and-hikes/corran-tuathail-and-the-mcgillycuddy-reeks/climb-corran-tuathail/

NORTH AMERICA’S HIGHEST MOUNTAIN: Denali (6,190 metres or 20,308 feet)

source: https://a-z-animals.com/blog/discover-the-tallest-mountain-canada/

HIGHEST MOUNTAIN IN THE WORLD: Mount Everest (8,849 metres or 29,032 feet)

source: https://www.bbc.co.uk/news/world-asia-55218443

INTERESTING FACT: The geological forces that created Mount Everest are still active. This mountain is growing by about four millimetres per year! However, there’s another mountain that may one day be taller, Nanga Parbat in the Pakistani Himalayas. It’s currently 26,660 ft tall and growing by seven millimetres per year.

And just for the fun of it:

HIGHEST MOUNTAIN IN THE SOLAR SYSTEM: Olympus Mons (25,750 metres or 84,480 feet)

source: https://lowell.edu/olympus-mons-the-biggest-hotspot-in-the-solar-system/

For comparison, here’s a shot of Everest from space
(keep in mind Mars, where Olympus Mons is located, is only 53% the size of earth so this visual comparison is a little unfair)

I won’t be able to do this with most biome locations. I just happen to live near(ish) to mountains and hike a lot.
(Several images are edited to remove my kids). Keep in mind, these are all the Rocky Mountains and there are lots of variations throughout the world.

SITE BROUGHT TO YOU BY

SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

two people wearing black leather cuffs and chains shaking hands to show consent with the words "making it spicy" - this image is AI rendered

Portraying Consent When Writing Novels

TRIGGER WARNING
This post discusses subjects that may be triggering to some people
(abuse, grooming, sexual assault)

Nowadays, people generally understand what consent is. As such in this post we’re first going to address a number of non-consent subjects first, educate about abuse, educate about non-consent fantasy, and THEN delve into consent and how to address it in writing. If you want to jump directly into how to write responsibly, you can use the links below to do so.

Through this post, I will use the term non-consent for sensitivity purposes. To be clear, non-consensual sex or intimacy is sexual assault/rape.

Get Around This Post

At the ripe old age of 46, I’ve read a lot of books. I’ve seen non-consent normalized and romanticized throughout all genres, though some are definitely worse than others. In fact, in some genres it’s so common that I’ve stopped reading the genre altogether, and I have a high threshold for this stuff. Recently, I challenged my aversion hoping that things like the movement had improved things. I tried several books and kept seeing it. Some of these were written in ways where it was obvious the author knew what they were writing was problematic but struggled with portraying aggressive passion or BDSM scenarios without abuse.

To be clear, media is not the cause of sexual assaults. For the large part, sexual violence boils down to a need for power stemming from poor self-esteem, a lack of ability to handle stress, and other non-sexual motivations – despite what excuses are made by the criminal performing the act.

Where media does come into play is when it so prevalently depicts acts of sexual violence as romantic or eventually having benefits (he gets the girl in the end being an example). The more exposure people have to these ways of thinking, especially younger people, the more normal it is. For a potential abuser, they form ideas about what’s expected, what they’re owed, and what certain genders are interested in. For a potential victim, it skews beliefs about what’s normal in a relationship, what love or passion is, and what they’re expected to do, whittling away their agency.

Perpetrators of sexual violence already tend to lack personal accountability for their own actions (examples to follow). They have a diseased way of viewing the world and other people within it. Normalization and romanticization of sexual violence becomes evidence that supports their beliefs. Factor in how youth or other impressionable people are forming ideas about themselves and how relationships work, and things can get really ugly.

We would like to think that people have more intelligence than that. Unfortunately, there are a few factors at play here. First is what I’ve stated above. Secondly, people wanting to do bad things will seek support to think the way they do so they feel normal and to justify their actions, often blaming others. The incel community is a clear example of this. Thirdly, and very importantly, repetition is the key to learning. If you want to learn more about that, check out this online PDF: Repetition is the First Principle of All Learning. Repeat anything enough times to someone, and they are likely to at least consider it true.

Of course, human psychology is more complex than that, and individual factors such as previous trauma can come into play, but you’re not here for a course on the mind of violent criminals. However…let’s look a little more at these criminals anyway, and how they justified their sexual violence.

“Convicted rapists in a maximum security prison in Virginia volunteered to be interviewed by Scully and Marolla (1984). These authors distilled the following themes used by rapists to justify their actions: women are seductresses, women mean “yes” when they say “no,” most women eventually relax and enjoy it, nice girls don’t get raped, and it was only a minor wrongdoing. Some rapists implied that the victims brought the rape on themselves or wanted to be raped because they flirted with them; others convinced themselves that when she stopped resisting, it was because she enjoyed it (even if they had threatened her with a weapon). Others cited the victim’s reputation for being sexually promiscuous, her revealing clothing or willingness to go somewhere alone with them as evidence that the victim was asking to be raped.” *
*source: Sexual Assault Perpetrators’ Justifications for Their Actions: Relationships to Rape Supportive Attitudes, Incident Characteristics, and Future Perpetration

If you look at the reasonings they gave, you’ll notice these correlate closely with problematic behaviours you see in media. That’s not to say one caused the other. It’s more likely they fuel each other, causing a perfect horrible whirlwind of shitty behaviour and beliefs. As previously said, media is not the cause of sexual violence, but it can play a supporting role when handled irresponsibly.

What is Normalization? This refers to the process by which ideas and behaviours outside social norms come to be considered normal. In some cases, normalization is needed because poorly educated beliefs or traditional views cause real physical, emotional, and psychological harm to people. Other normalizations, such as normalizing sexual violence, play into physical, emotional, and psychological harm being done to people.

What is Romanticization? This refers to making something more romantic than it truly is, more idealized, or heroic.

You can see diseased thinking in action in the video below, and this man is hardly alone. Did media influence him? He says it did and take that as you will. Either way, he made this behaviour so normal in his own mind that he called police when he didn’t feel safe because the father of the victim threatened him, yet he talks about chasing this woman for blocks because ‘women like to be chased’, and exceptionally common theme you see in media portrayals of romance. You don’t even need to listen closely to see his numerous justifications and problematic ways of thinking, but let’s summarize:

  • She pulled away from him, so he waited for her in the parking lot
  • She drove away from him, so he gave chase
  • He justifies by saying ‘women are crazy’ that he thinks she wanted to be chased. That women like that. That it was ‘only a few blocks’. That it’s exciting for them
  • He repeatedly talks about how she’s not thinking clearly, how others are influencing her, he outright tells officers she doesn’t have free will, she’s being controlled by her father which is why she’s turning him down
  • He references BDSM porn (media) and rape fantasies as examples of evidence supporting his claims (I have whole sections about this below)
  • Rather than accepting his behaviour is problematic, he blames ‘woke’ culture and the LGBTQ+ community for poisoning her mind
  • After being served what is assumed to be a restraining order (he’s actually being arrested here), he calls on more examples from media (in this case the ‘Baby, It’s Cold Outside’ song) to support that women say no when they mean yes

In a more complete video, he also states that he doesn’t think she had the chance to make a ‘reasonable choice’ because she ran away from him. Clips I’ve seen from his social media accounts utilize violent media in the form of song to support other harmful beliefs he has.

Trigger warning: stalking, harassment, threats of violence, etc.

The person does release an apology after he was put in jail where it appears he’s making efforts to change. He mentions several media influences that impacted his way of thinking. It’s a long, rambling video, but he talks about mythology, Beauty and the Beast, songs, YouTube videos, and how paparazzi gets to stalk people.

Note: People typically cannot make fundamental changes to what they believe and their established behaviours so quickly. With how convinced this man was of his rightness, leading him to stalking and uttering threats, it’s likely nothing has truly changed at all. It’s more likely that this video is to express remorse and a willingness to change which may or may not impact the legal consequences of his actions and change public opinion. That’s not to say he isn’t making an effort, only to point out that abusers often use these tactics to reduce consequences, and potentially to lure victims back into an abusive relationship. They may genuinely believe they are changing, but changes to belief systems and patterns of behaviour take years and often therapy and consequence.

If you’re going to watch the video below, note that he speaks to other things such as the existence of trans people and how wrong he thinks it is to ‘promote’ them, anti-vax views, and conspiracy theories. You’ll also hear him deflect blame for his actions repeatedly.

Trigger warning: stalking, sexual assault, anti-trans rhetoric

Books Can Inspire Acts of Violence

In no way are authors/writers at fault for the acts people commit claiming to be inspired by their works. People who victimize others tend to seek a reason that justifies their actions, and media can provide inspiration and justification. Their actions and thoughts are their own, however.

While nothing we do as authors will stop people who will truly want to victimize someone, we can avoid creating literature or other media which romanticizes victimization, normalizes sexual violence, makes others believe victims will fall in love with their abuser, or makes others believe that you can abuse or rape someone and still be the good person.

If you’re going to avoid making your characters rapey and avoid romanticizing violence, you should know the specific behaviours and patterns that constitute abuse and grooming. To be clear, grooming is a form of abuse, and abuse of all kinds typically involves grooming.

Definition of abuse: Abuse is any and every action that has the intention to exert control or hurt another being. Abuse is often about establishing and demonstrating power and control over someone else. Abuse can be physical, sexual, verbal, financial, or psychological. *
* source: https://psychcentral.com/health/cycle-of-abuse

Building Trust: Groomers often invest time in building trust and rapport with the victim or their support network to gain access and control.

Boundary Testing: Testing boundaries and gradually pushing them further by violating personal space or introducing inappropriate behaviors.

Secretive Behavior: Encouraging secrecy, especially regarding interactions or activities that involve the victim and the groomer, can be a red flag.

Emotional Manipulation: Groomers may use emotional manipulation to make the victim feel special or needed, gradually eroding their sense of judgment or independence.

Gifts and Favors: Excessive or unwarranted gifts, favors, or special attention aimed at gaining the victim’s trust or loyalty.

Love-Bombing: Love-bombing refers to an intense and overwhelming display of affection, attention, or admiration by someone. It involves excessive flattery, gifts, constant communication, and rapid expressions of love or devotion, often aimed at quickly gaining trust, loyalty, or control over the other person. Love-bombing can sometimes be a tactic used by manipulative individuals to establish a strong emotional connection or to gain power or influence over someone else.

Isolation: An abuser might attempt to isolate the victim from friends, family, or support networks, making them reliant solely on the abuser for emotional or financial needs.

Controlling Behavior: Constant monitoring, dictating the victim’s actions or whereabouts, and exerting control over decisions are signs of controlling behavior often seen in abusive relationships.

Physical Signs: Unexplained injuries, bruises, or frequent health issues without a reasonable explanation may be indicative of physical abuse.

Emotional Manipulation: Gaslighting, emotional blackmail, or manipulation tactics to distort the victim’s reality or self-worth are common in emotionally abusive relationships.

Sexual Coercion: Pressuring or forcing the victim into sexual activities without consent or against their will is a severe form of abuse.

Love-Bombing: Love-bombing refers to an intense and overwhelming display of affection, attention, or admiration by someone. It involves excessive flattery, gifts, constant communication, and rapid expressions of love or devotion, often aimed at quickly gaining trust, loyalty, or control over the other person. Love-bombing can sometimes be a tactic used by manipulative individuals to establish a strong emotional connection or to gain power or influence over someone else. It is often a part of the cycle of abuse. That is, it follows abusive behaviour.

Media often uses aggressive, high intensity passion and there’s nothing wrong with that. You want to write a scene where they just had a fight, but now they’re going to bang that frustration out? A night of teasing culminating in the dominant one taking their partner home to ‘teach them a lesson’ or work off the frustration? A spontaneous desire resulting in property damage? That’s this.

The key characteristic of aggressive passion is its intensity, strong emotions, strong desires, and passionate expression of all of that. However, aggressive passion, even spontaneous, needs to have an element of consent and respect. In an upcoming section, we’re going to cover obtaining consent in ways that doesn’t kill the flow of your scene.

If you’re a person who’s come here and is not a writer but is gaining value from this D-Script, aggressive passion is fine but if you try to engage in this type of sex with someone you have had no real conversation about boundaries with, you are taking a massive risk. You probably don’t want to try choking someone who hasn’t shown particular interest in wanting you to do that to them. Note, I said ‘you’. They may be comfortable with the idea, or with another person doing it, but they may not have developed that level of trust with you specifically.

We see people getting into and staying in relationships that involve abuse and violent sexual behaviour all the time. Let’s discuss some of the key reasons why people do this. Why am I getting into this? Because some people will believe that people in abusive relationships are happy, may focus on the part of the abuse cycle that shows ‘love’, and because some people reading this article aren’t going to be writers at all but people seeking understanding of their current situation. Additionally, having a well-rounded understanding of the factors surrounding abuse may allow some authors to process their own beliefs, conscious or not, around this subject which will help them avoid portraying it irresponsibly.

Normalization and Romanticization: This could be partly due to media, but is more likely to be from family, friends, community, religion, or other factors in raising someone to believe abuse and violence are normal. They may have been raised around violence as well, thus seeing these behaviours as acceptable.

Expected or ‘Traditional’ Gender Roles: A little deeper into that normalization idea, is that some people are raised to believe that gender excuses abuse, whether it’s being the perpetrator or the victim. Traditional gender roles don’t necessitate abuse and work for some people, but they’re often used as an excuse for domestic violence or worse.

ADDITIONAL RESOURCES

Grooming: Most abusive relationships don’t start as abusive. The abuser finds someone they believe they can control and will start with gifts, loving language and behaviour, then start inserting ‘teachings’ and abuse before flipping to apologies, gifts, and loving language and behaviour again. This not only normalizes their behaviour, but often causes the victim to believe it’s their fault because, obviously, the abuser loves them. Their idea of relationships and self-worth get deteriorated into accepting what’s happening, no matter how miserable they are.

In fact, there’s a whole community of men who insist on dating young women and girls because they’re more ‘trainable’. They prey on young, inexperienced girls who are still developing their ideas of self, self-worth, and what is normal in a relationship so they’ll accept abuse and have no agency of their own. These men proudly talk about this as if that makes them better than others, rather than seeing their need to do this as massive character weakness, obvious self-worth issues, and an inability to handle stressors in their life. These girls are to be trained to make up for the fact they have to deal with other people like them who rely on violence, manipulation, apply stress, and other negative factors.

A person who loves someone will not purposely harm them, belittle them, or disrespect their boundaries. Remember, love should never hurt, control, or demean. It should inspire growth, bring joy, and create a sense of security and understanding between individuals.

Trauma: The thing with trauma is that the way our brains handle it doesn’t always make sense to people on the outside. Sometimes, even to people experiencing it. Trauma can cause a whole host of issues that can cause someone to be vulnerable or afraid, and some people prey on that.

Psychological/Emotional Reasons: Self-esteem and self-worth issues along with other emotional and psychological factors may play a huge role in a person learning to accept what they’re being subjected to. For example: people with low self-esteem may not know they have self-esteem problems. They may have masked these self-esteem issues without realizing it. They also may have been told their whole life that care and respect for themselves and their boundaries is selfish or arrogant, thus blinding them to signs of low self-esteem. Some of these people might believe that being the subject of possessiveness or jealousy signifies worthiness, attractiveness, or love. They may interpret such behavior as a validation of their desirability, even though it comes at the cost of their autonomy and well-being. They might feel a sense of importance or significance when their partner displays possessiveness or jealousy, mistaking it for a form of dedication or commitment.

As possessiveness and jealousy are used very commonly in novels to portray passion and intensity, below we’ll speak directly to this.

Children: It may be that children are involved and will be impacted by a separation. This isn’t just emotionally either. Some people stay in these relationships because they fear what their partner will do to the children in revenge, that they might become the targets of abuse, or that taking them with them when they leave will result in homelessness and food insecurity.

Financial Reasons: Similar to the above, it’s very possible an abuser has control over finances or worked themselves into a place where they are the only bread winner. If the victim leaves, they’ll be homeless.

Safety: Sometimes the abuse happening in the relationship is still safer than what will happen to them if they leave.

The best way I can think to explain non-consent fantasies is with ‘L’appel du vide’ or ‘the call of the void’. It’s the name for when someone may be perfectly fine but looks out over a cliff and will envision what it would be like to jump over it. They don’t want to. They wouldn’t do it, but the thought is clear as day and may drive an intense desire to experience it. Non-consent fantasy is more than curiosity and romantiziation of the act however.

Genres such as ‘toxic romance’ or ‘dark romance’ exist for a reason, and to be fair as much as I’m talking about the dangers of romanticizing toxic behaviours and beliefs, I actually understand why some people are drawn in by this. When I was younger, my brain went there and to say that it was some dark stuff would be an understatement. As I’m getting older, I’m pretty horrified by the content of those thoughts. In my case, it was processing self-worth issues and a trauma response. Now, would I have wanted those things to happen? No! Was it impacted by books I read that were not dark romance but had features of it, absolutely! Have I had to work at not writing that stuff into my own narratives…guilty!

Independently, having these fantasies and experiencing arousal from them is normal. In fact, studies have put the prevalence of rape fantasies at 61% of people*. Afterall, as said before, fantasies can be a healthy way of processing emotions independently without risk.

These fantasies usually occur in the realm of one’s imagination only, or within the context of consensual role-playing scenarios. They can also work both ways, as being the victim or the aggressor. They may include being overpowered or dominated by another without explicit consent. Additional violence may also be worked into it. The fantasies can be a form of escapism where the person having them gives over control, putting themselves in a vulnerable state in a safe environment. To others, it may be an expression of trust and love when they have a hard time doing that otherwise. We’ll talk more on this under the section The Difference Between BDSM or Dom/Sub Dynamics and Sexual Assault.

*average based on source: Why Are “Rape Fantasies” So Common? Article sources at the bottom

It’s crucial to understand that non-consent fantasies are valid and are generally non-harmful. However, they in no way imply a desire for actual non-consensual experiences.

As for the processes behind them, these fantasies can be related to a desire to explore the taboo, a need to release or have control, or psychological and emotional factors from grooming to self-esteem issues to traumatic events. Traumatic experiences, even when not related to non-consent, might manifest in ways that seem paradoxical, leading to fantasies that, on the surface, appear contradictory to personal values or beliefs.

For people who have these fantasies and are disturbed by them, it’s beneficial to seek professional guidance to address it.

ADDITIONAL RESOURCES

Addressing Attraction to Jealousy and Possessiveness

As an example, one of the biggest tropes in media – especially in novels – is how characters love possessiveness and jealousy. And, yes, some people do see these behaviours as desirable. Reasons for people being drawn to partners exhibiting unhealthy possessiveness and jealousy are complex, and often stem from their personal beliefs about love, self-worth, and validation in relationships.

Oftentimes, these feelings are novel. At first, they’re flattering but the deeper the relationship becomes, the more control and possession is exerted over them, the less novel it becomes but the more trapped they feel. Shame may also come into play if they blame themselves for allowing it to get to this point.

Relationships that exhibit unhealthy possessiveness and jealousy tend to erode personal boundaries and remove autonomy from one or both people (depending on if both are possessive and controlling), leading to feelings of resentment, suffocation, fear, and loss of individual identity. Moreso, people in these relationships often exhibit emotional distress, anxiety, trust issues, and the onset of or increasing mental health issues.

WHAT ARE THE SIGNS OF UNHEALTHY POSSESSIVENESS AND JEALOUSY?

Constant Monitoring: Checking of a partner’s phone, social media, or whereabouts, often without their consent or knowledge.

Isolation Attempts: Trying to isolate a partner from friends, family, or social circles by discouraging their interactions or making them feel guilty for spending time with others.

Insecurity and Distrust: Continuously questioning a partner’s actions, doubting their loyalty, or showing distrust without valid reasons.

Controlling Behavior: Dictating what a partner can wear, who they can talk to, or where they can go, exhibiting controlling behavior to limit their freedom.

Accusations and Blame: Regularly accusing a partner of infidelity without evidence or blaming them for interactions with others, leading to constant arguments or tension.

Emotional Manipulation: Using guilt trips, emotional blackmail, or threats of self-harm to control a partner’s actions or decisions.

Extreme Reactions: Reacting intensely, becoming aggressive, or exhibiting violent behavior when a partner interacts with others or attempts to assert independence.

Lack of Respect for Boundaries: Disregarding a partner’s boundaries, privacy, or personal space, invading their privacy or personal belongings without permission.

Feelings of Ownership: Displaying possessive behavior by referring to a partner as “mine” or treating them as an object rather than an equal partner.

Emotional Turmoil: Causing significant emotional distress, anxiety, or fear in the partner through constant accusations or control.

Refusal to Accept Breakup: Refusing to accept a breakup, stalking, or persistent attempts to regain control after the relationship has ended.

ARE THERE NON-TOXIC LEVELS OF POSSESSIVENESS AND JEALOUSY?

In relationships, a certain degree of possessiveness or jealousy can be considered normal or natural, to some extent. However, distinguishing between healthy levels of possessiveness and jealousy versus unhealthy or excessive levels is crucial. What might normal levels of this look like?

Occasional Jealousy: Feeling a twinge of jealousy occasionally in response to situations that might trigger insecurities is common. It’s important to address these feelings through communication and reassurance without resorting to controlling behavior.

Open Communication: Healthy relationships involve open and honest communication about feelings of jealousy or possessiveness without resorting to controlling actions. Discussing boundaries and insecurities can help alleviate concerns.

Respect for Autonomy: Partners in healthy relationships respect each other’s individuality and personal space. They understand that maintaining friendships and activities outside the relationship is healthy and necessary.

BDSM: (Bondage, Discipline, Sadism, Masochism) encompasses a wide spectrum of consensual sexual practices that involve power exchange, role-playing, and the consensual exploration of physical or psychological sensations. All aspects of BDSM revolve around mutual trust, safety, and consent. As communication is vital for this, boundaries should be established early and before any play is initiated. Neither the person on the giving or receiving end should ever be pressured to move past their boundaries.

  • Bondage: A part of power play that involves the desire to restrain someone or be restrained by someone. This usually involves sexual activity, but some people are simply into the art of it.
  • Discipline: When a person in the dominant role sets rules for those in a submissive role and enforces them through punishments. You may automatically think something like spanking, but the range of what discipline is can be far reaching and very creative. Discipline does not break consent. Certain types of submissives are more likely to break rules than others but not consent. Discipline also enacts rewards for good behaviour.
  • Sadism: Taking sexual pleasure from inflicting pain on others.
  • Masochism: The counterpart of sadism, this is taking sexual pleasure from having pain inflicted.

In BDSM, there are people who are doms and those that are subs.

Dominant (dom): In simple terms, this is the person or people that are in control of what’s happening in a scene or relationship. They guide the encounter much like a storyteller. Even if play does not have bondage, discipline, sadism, or masochism, it still falls under the umbrella of BDSM.

Submissive (sub): The submissive is a person who gives control to the dominant. They allow acts to be done to them, or follow direction to do things to the dom. It’s commonly said it’s truly the submissive that’s in control as the dominant is not free to do anything they want but must adhere to the boundaries of the submissive. Even if play does not have bondage, discipline, sadism, or masochism, it still falls under the umbrella of BDSM.

Switch: A switch is someone who sometimes enjoys being dominant, other times enjoys being submissive. Even if play does not have bondage, discipline, sadism, or masochism, it still falls under the umbrella of BDSM.

Relationship: If a person is in a dom/sub relationship they are likely extending this dom/sub behaviour into more aspects of their life than just intimate times. This is agreed upon, focuses on ongoing consent, open and healthy communication, a respect for boundaries, and change to those boundaries is allowed at any time.

Scene: A dom/sub scene is where people put on these roles for a short time, say an intimate encounter. As with a relationship, scenes respect boundaries, employ healthy communication, and change to those boundaries is allowed at any time.

Safe Word: Safe words are discussed before play. They’re words a person may not normally use that indicate they want something to stop. A variation on this may be a safe word used to notify a partner they’re feeling uncomfortable. For example, during intimate times, it doesn’t make sense for someone to randomly say “pineapple”, so “pineapple” can be taken as a previously discussed safe word. This is done as “stop” and “no” may be acceptable (previously discussed as such) parts of the play. Words like “ouch” are the same.

A safe word can end the scene entirely or just what’s happening.

Safe Phrase: Like safe words, safe phrases are established before play. And, like safe words, they indicate someone involved wants something to stop. They might be used when someone involved wants it to be extra clear they want something to stop or slow down.

Safe Sign: Some play negates the ability to speak, such as the use of gags or in bondage situations. In these situations, rather than words, certain sounds or actions are used to indicate that the person gagged or restrained wants something to stop. For example, someone who is gagged with their hands bound, may stomp their foot three times (once could be easily construed as a muscle twitch or pain reaction that’s acceptable), or in a simple pattern. A safe sign might also be used when someone has problems expressing their needs in words. Tapping an arm, for example, may be easier for some people who have trouble advocating for themselves or may feel silly randomly blurting out “pineapple”.

Aftercare: Just like with any other part of an intimate encounter, aftercare should be talked about so partners understand what other people need after an encounter. So, what is aftercare? Aftercare can be talking about a scene to discuss likes and dislikes, talking about emotions and checking in to make sure the other person is okay, cuddling, spending quiet time together or apart, caring for bruising or other injuries, hydrating and snacking, or words of affirmation.

WHAT ACTIONS CONSTITUTE BDSM?

Dom/Sub Dynamic: BDSM typically involves one person dominating or having power over the other. Even if this is Shibari or Kinbaku (rope work where one person is tied up in artistically arranged ropes and knots) with the ropework being the focus and no sex happening, one person is in power over the other. This dynamic does not necessitate any of the below but may simply be one person who commands the other to accept or perform sexual acts (again, with conversation and consent). There are different types of doms and subs, but as this isn’t a deep dive, we’ll not get into that here. I may cover this in another article.

Bondage: This could be anything from restrained hands or a gag to elaborate work like Shibari or Kinbaku. It can involve specific instruments and tools designed for this purpose, or improvised items such as belts used to restrain. It should be noted however that comfort and safety of the individual is the most important aspect. Improperly done, restraints can cut off blood flow, causing temporary or even permanent damage, abrasions, dislocations, or more.

Sensory Play: This would be anything that might invoke the sense of touch. This could be wax (be careful some waxes burn like crazy), feathers, soft or rough fabrics, etc. This is often combined with bondage.

Impact Play: Pretty straight forward on this one. This would be spanking, whips, paddles, caning, slapping, etc.

Sensory Deprivation: Blindfolds, ear plugs, special suits fall in this category.

Other: There may also be such things choking, hair pulling, use as an object such as furniture

These are just some examples of what falls under the BDSM umbrella. The community can be pretty creative!

It should be pretty obvious by now how BDSM is different than non-consent situations, but to be clear, everything that falls under the BDSM umbrella revolves around consent and strong communication between all involved parties. Boundaries are not negotiable. Despite how intense BDSM scenes can be, at no point is someone subjected to or performing an act that hasn’t been agreed upon willingly, without pressure or coercion, and not agreed upon when the person is in a compromised state of mind (drugs, alcohol, mental distress, mental disability, or unable to consent otherwise).

If someone moves outside those boundaries without obtaining consent, this is assault. Even if the scene or relationship is a dom/sub one, the dom always adheres to boundaries and enforces clear communication. Anyone claiming to be a dom but who uses abuse tactics to obtain consent or does something without consent is not a dom, they are an abuser and what they’re doing may be criminal.

Sexual assault disguised as BDSM is rampant in media, especially in novels. Famously, the 50 Shades of Gray series is rife with abuse disguised as a dom/sub relationship. This often happens in media due to poor education about what these acts are and due to romanticization of abuse.

Lines from ‘Fifty Shades of Grey’ depict rape by legal definition, not romance

An abuser disguising themselves as a dom:

  • Does not listen to the boundaries of the person in the sub role (a dom may want certain acts that a sub does not want to submit to)
  • Does not encourage conversation so they understand boundaries
  • Does not support the use of safe words or similar, or does not respect when they’re used
  • Gets upset when safe words or similar are used
  • Employs punishments outside the punishments agreed upon when the other does not do what they want. For example: withholds affection, attention, finances, respect or emotionally withdraws, talks of other people who would let them, threatens to go to someone else to do it, etc.
  • Does not check in with their sub throughout and after a scene or – if less a scene and more a lifestyle choice – does not continually check in with their sub to ensure they’re happy, comfortable, not feeling pressured into doing what they are, etc.

*cough* (Christian Gray from 50 Shades of Gray does every one of those) *cough*

Of course, one of the best ways to do this is to establish that the characters have talked about their wants and desires and then the dom adheres to the rules of consent. In an upcoming section, we’re going to give a lot of examples of how consent can be obtained without killing the mood, but there’s everyday ways of doing this too.

In real life, and I feel there may be some people reading this who would benefit from knowing this, conversations can be had in little bits and pieces. Say you’re watching a movie and the dominant partner in the movie puts their hands on the submissive party’s neck. You could smile and simply say “that looks like fun. Want to try sometime?” BAM! You have their answer on whether they would be down with it. Keep in mind, some sort of consent should be obtained at the time of doing it as well, examples below.

Or, you walk into the room and see her resting with her hands over her head, it gives you ideas of bondage. “Well, that’s certainly an intriguing pose. How would you like it if I tied them up there?”

These can be worked into scenes throughout a book to build tension and show consent is being obtained. Showing it a little goes a long way. No one is expecting you to have them ask about every last thing they do. So, if you want to show your character is passionate but not an abuser, make little insertions about consent in there and avoid the telltale signs of grooming and abuse that I’ve listed in above sections. It’s that easy!

Other tips might be:

  • Have them check in throughout to ensure the other person/people are still consenting. A little “do you like it when I do that?” goes a long way.
  • Have them discuss what they’re about to do and show them looking for and acknowledging consent
  • Have them express their desires even during an encounter. “You would look so good with my hand around your throat” followed by the sub’s expression of agreement, and you have a hot scene!

Have more tips? Put them in the comments! (all comments are screened before they go up, so keep that in mind)

Though submissives can display abusive behaviours such as trying to force or manipulate a dom into doing things they aren’t comfortable with, here we’re going to focus on writing a sub in a way that doesn’t portray them as a victim. What might be some key ways of establishing that your character, however shy and unexperienced they may be, isn’t a victim?

  • Have them ask for what they want, even if it is in a demure way
  • Have them stoke themselves up to moving their dom’s hand to a place they want it
  • Have them use words or relay desires otherwise that says they’re enjoying it – use emotion. Show don’t tell. (Do NOT start with them not liking it, fighting the person off, feeling obliged to perform, and if they are hesitant because it’s a first time, have the dom make a safe place for them, telling them what’s going to happen and have them agree to it, with explicit statements or actions acknowledging the sub agreeing)
  • Have them state boundaries. “Please, no.”, “Do this instead”, or even just, say, moving a hand away
  • Have them stop intimate actions if the other person/people are ignoring boundaries or pushing too hard
  • Have them pull out of a sexual encounter where they aren’t being respected

Have more tips? Put them in the comments! (all comments are screened before they go up, so keep that in mind)

We’ve talked about non-consent throughout this whole article, but let’s have a specific section dedicated directly to consent so there’s no question.

Consent is the cornerstone of ethical and respectful interactions, especially when writing about intimate topics. It refers to the explicit, enthusiastic, and ongoing agreement between all parties involved in any form of intimate or sexual activity. For writers, accurately portraying consent is not only a moral imperative but also essential in creating authentic, relatable characters and storylines. Remember, what you put to paper, some people will take as normal or as justification, especially when writing for younger audiences.

It’s important to note that we’re talking about all involved parties. That means, if the act is public sex or degradation, the public is not consenting. If acts are happening beside someone who is asleep, unless previously discussed and agreed upon, that sleeping person has not consented to be there for that. If a person is unconscious, under the influence of substances, in mental distress, has certain mental disorders or development concerns, or is not of age, they are also not able to consent. It is grossly unethical to involve parties that cannot consent in intimate activities.

What Are the Elements of Consent?

Voluntary Agreement: Consent must be given freely without any form of coercion or pressure. It should be a choice made willingly and without fear of consequences.

Example: In a scene, a character expresses their desire to engage in a romantic encounter and actively communicates their agreement by initiating physical contact while ensuring their partner is comfortable and willing.

Clear Communication: Effective communication is key to ensuring consent. All parties involved should openly express their desires, boundaries, and limitations without assumptions.

Example: Before engaging in a passionate moment, characters engage in a conversation about their boundaries, discussing what they are comfortable with and what they are not, and mutually agree on the activities they wish to pursue. This doesn’t have to be boring or a sit down at a boardroom table to figure out a contract. This is where imagination comes into play! We’ll get into that later.

Continual and Revocable: Consent is not a one-time approval; it’s an ongoing process. It can be withdrawn at any point if any participant feels uncomfortable or wishes to stop. The amount of times one should check in with the partner is highly dependent on their relationship and previous communications.

Example: During a heated scene, one character expresses a change of heart or discomfort, and the other character immediately respects that boundary, ceasing all activity and ensuring their partner’s well-being

Let’s face it, this is probably why you’re here.

When talking about consent, some people gripe that if they ask for permission for everything it’s boring and frustrating for everyone. The key here is imagination! Asking for consent doesn’t need to be awkward. It’s all in how it’s done. So, let’s talk about how to keep the mood intact. Note that in the below situations, we’re assuming that mutual intimate interest has been established and not assumed. That is, we’re not talking about running a hand up someone’s thigh because one person thinks the other person is into them.

Also, keep in mind that established relationships don’t necessarily need the same level of communication. Communication is important regardless, but it’s very likely it’s already happened, and they only need to talk about new things they want to introduce or stop. Consent is ongoing and revocable, but boundaries like “I’m good with this until I tell you I’m not” are perfectly reasonable.

Also, keep in mind there are a million ways for you to state a character’s interest that makes it obvious that they’re down for more. I’ll get into that in a different post, but here we’re strictly talking about how to obtain or check for consent verbally. It is the most clear-cut way of doing that.

Never underestimate the power of stating intention. Think of intimacy in a novel as foreplay being the story and sex being the climax (…that worked out well). Every action, every word builds tension and anticipation, each touch driving the need for more, and then the sex is what the reader has waited for. Make them wait. They’ll be invested.

Spicy Ways of Establishing Consent

Example: When he could finally pull himself from her lips, he didn’t make it far. Eyes closed, forehead resting against hers, his voice came out rumbling with restraint. “You have no idea how much I want to take you. Tell me you want this as badly as I do.”

Example: Her eyes drifted across his body as he took his shirt off, a smile spreading across her face. She approached slowly, bottom lip caught in her teeth. “If you’d like, I could always help you with those pants.”

Example: She pushed her girlfriend onto the bed, smiling as she crept up her body. “Tell me what you want me to do.”

Example: “We could watch a movie,” she said with a cunning drawl, “or I have some new restraints we could break in.”

But this sort of ask isn’t restricted to sex itself, but can be utilized for other things

Example: They realized she’d said something and was waiting for a reply. With an innocent smirk, they admitted, “I’m sorry, I didn’t hear what you asked. I was thinking about how soft your lips look and was wondering if you’d let me find out.”

Example: He smiled at her playfully. “That hand of yours looks a bit lonely. Mind if I hold it?”

It can also be used for situations where you want to have one character ensure the other feels safe or check in on them:

Example: She started slow, watching her lover’s face. “Does that feel good?”

Example: “If I do anything you aren’t comfortable with, we can stop. I’m more than happy to tease you longer.”

Example: He broke away, heavy breaths punctuating each subsequently lower kiss. “If it gets too much, all you have to do is say it. I’m happy to find other ways to make you scream my name.”

Example: He locked eyes with his boyfriend, a steady gaze that always made him blush. “Do you want me to keep going?”

Or it can be used to get the other person to take the initiative

Example: She offered her hand, fingers gently turned up. “Why don’t you show me how you like it?”

Example: He smiled down at her, eyes traversing the flush that spanned her cheeks and chest. “Why don’t you get on top so I can watch you?”

Example: He smirked, pulling away. “If you want me to do that, I’m afraid you’re going to have to______”

Words can be used in a power dynamic situation as well

Example (Dominant Person): He knew she was close and denied her the release she so desperately craved. “Beg me for it, and maybe I’ll let you cum.”

Example (Submissive Person): They could barely think straight. Breathlessly, they gazed up at their partner. “Fuck me…please!”

Here’s some ways to find out what someone is into

Example: He took her chin between his finger and thumb. “Tell me what you’ve thought about me doing to you.”

Example: “I saw this______, and damn if I haven’t stopped thinking about you since. Would you let me?”

Finally, a roundup of other brief suggestions:

  • How does that feel?
  • I want to hear you say it.
  • I want to feel you put this on/in me.
  • How do you want me to…
  • Tell me what you want me to do next.
  • What should I do next?
  • Are you ready for…
  • Does that feel good?
  • I really want to _____
  • I’m going to ______. Are you okay with that?
  • Do you want more?
  • God, I want to touch you.
  • Right now, I’m thinking about….
  • If you want something, you’re going to have to ask nicely.
  • You seem to like that. Do you want me to keep going?
  • Tonight, when we get home, I’d like to _____. Would you like that?
  • It felt so good when you _____. Would you do it again?
  • Can I go down on you?
  • I’d like to take you from behind and pull your hair, would you like that?
  • I’m okay if you…
  • You would look so good…

When it comes down to it, almost anything can be sexy. HOW it’s said can change a person’s entire perspective. “Next time, let’s invite the neighbours” takes on a whole different meaning when said with a moan!

So, you’re going to use a non-consent scene in your book. In that case, let’s drop the cushioning here. Non-consent is a gentle way of saying sexual assault or rape. You are going to use a rape scene in your book. I’m not judging, you could actually have a decent reason to do so, like making commentary on a trope or belief set. Still, rape scenes in media are used at an unfortunate frequency and are more times than not done to support weak writing or as a cheap way to achieve something. What are some of these cases of supporting weak writing?

  • It makes the bad guy seem all that much worse
  • It’s a device that drives the raped character to become stronger
  • It was commonplace in the past/historical accuracy
  • It’s a way to give the character a tragic backstory
  • It was their wedding night, and it was her duty
  • and perhaps one of the worst…a plot device that leads to the victim falling in love with their abuser

Non-consensual scenarios can serve a purpose when handled responsibly, shedding light on important issues such as power dynamics, trauma, and the complexities of human relationships. However, extreme caution must be exercised. The simple fact is that with good writing, almost all sexual assault scenes not making a point are unnecessary. If you are really set on that assault scene, and it’s integral to your story, there are going to be some things you should focus on to ensure you’re not being really damned questionable about it.

DO NOT…

  • use the rape to make your abuser more complex by showcasing their remorse or using other emotions to gain them sympathy points. Showcasing means making it the primary or an important focus of the storytelling.
  • for all that is good and well written, DO NOT have your victim fall in love with their abuser. The only case where this might be acceptable and responsible is if you’re making a commentary on trauma bonding. Even then, that should be clear before that happens.
  • in the same vein, do not have the assaulted character enjoy it. It can happen that an assaulted person reaches orgasm when being assaulted, but that is uncommon and would be extremely difficult to put into media without coming off as trying to justify rape.
  • frame it as something ‘sexy’, unless by some reasoning this is commentary on the ‘sexy abuse’ trope. That’s going to be hard to pull off.

DO…

  • ask yourself if the story would be any lesser for removing the assault entirely
  • ask yourself what you’re trying to achieve from it, and if there is a more effective way of going there
  • have a sensitivity reader review
  • Focus on the Victim: Highlight the gravity of the situation. Emphasize the emotional impact on the victim rather than focusing solely on the act itself. This can include exploring feelings of fear, trauma, and the aftermath of such events. If you’re going to have that scene, its impacts should be felt throughout the story, not just briefly discussed afterward in a token attempt to make it look like you understand the impact. This is a major moment that will affect the character likely for years to come.
  • Prioritize Character Agency: Empower characters involved in non-consent scenarios to exhibit agency and resilience. Allow them to navigate their experiences and reactions authentically, demonstrating their strength and capacity to recover and heal, emphasizing their journey beyond victimhood. See the articles linked above.
  • Avoid Gratuitous Detail: Exercise restraint in depicting non-consent scenes, avoiding gratuitous or explicit descriptions that sensationalize the act. Instead, focus on the emotional and psychological turmoil experienced by the characters, conveying gravity without unnecessary graphic depiction.
  • Have Realistic Repercussions: Convey the realistic consequences of non-consensual acts on individuals and relationships. Show the impact on trust, mental health, and dynamics within the story, emphasizing the complexities and long-term effects of such traumatic experiences. Notice this is repercussion not reward. A rapist should not be portrayed ‘getting the girl’.

Additional Resources:

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Writing About Dreams Without It Being a Nightmare

Dreams are wonderful tools in writing. However, they’re often overused, improperly used, or used in place of proper story or character development. It may be your way of inserting information into the plot which you feel is needed, but it isn’t necessarily the best way of doing it.

In this D-Script we’re going to cover everything from what dreams are to how and when to write dream sequences. Hopefully, this will help you decide the best way of relaying information to your readers and, if a dream is the best way to do it, how to do so effectively.

Let me start by sharing with you an experience I had with an editor. This wasn’t just any editor either. They were highly experienced in the industry, a previous lead editor at one of the Big 5 publishers. I’d hired them to review several chapters of a book I was writing so I could get a grasp on where my strengths and weaknesses fell as a writer. While the overall feedback was very flattery, the story had a scene that was a flashback dream (quite literally). Their feedback was that the clarity of the dream was inappropriate. It was too long, too complex, had too much sensory information, and was too clear.

That’s when I first started thinking about this subject. I realized that I had written this scene as an information dump, which is a no-no. *I* had other information on why it was more than that, but I didn’t make that clear. My ‘flashback dream’ was not only the result of unhealed trauma, but supernatural interference. Without that context, OF COURSE the editor was right. Afterall, for the most part, dreams are vague kaleidoscopes of images for most people, but we’ll get into that in a bit. Let’s get on with the article you’re here for!

Thanks to the reader who proposed this subject!

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The Role of Dreams in Novels

Dreams are used in novels as a narrative tool for authors to explore the inner worlds of their characters, convey emotions, and propel their plots in unique and interesting ways. In this section, we’ll delve into the various purposes for dreams in books.

DELVING INTO THE SUBCONSCIOUS
Dreams offer a gateway to a character’s subconscious. In novels, they allow readers to access the deepest thoughts, fears, desires, and conflicts of a character. By exploring dreams, authors unveil the hidden facets of their characters’ personalities, providing insight into their true motivations and emotions.

FORESHADOWING
Authors often use dreams to drop subtle hints about the story’s future developments, creating anticipation. Later on, we cover how to use dreams for the purpose of foreshadowing.

SYMBOLISM
Our brains craft dreams by using metaphor and symbology heavily. Dreams in books are often portrayed this way as well but made clearer and more straightforward for the benefit of the reader. Using symbolism can help authors subtly (or not so subtly) tell the reader what’s happening in the background of the character’s mind. Later on, we cover using dreams as allegory (including a definition of what allegory is).

CHARACTER DEVELOPMENT
By weaving dreams into their books, authors add layers to their characters’ development. How a character reacts to their dreams, what they fear or desire, and the recurring symbology in their dreams can offer insight into their growth and transformation over the course of the story.

CHARACTER INTERFERENCE
In fantasy books, or sci-fi, you can have other characters with powers that allow them to interfere with another character’s dreams. This allows those characters to help or manipulate them. This can be a subtle – or not so subtle – way of driving character conflict and power dynamics. Later on, we have a section about other characters interfering with the dreams of the point of view character.

PLOT ADVANCEMENT
This is a very common purpose of the dream. Just like any other scene, dreams can (and should) be used to advance the plot in new ways.

Is a Dream Sequence the Best Way to Deliver Information?

Dreams can be a double-edged sword. While they offer a unique way to convey information and advance the plot, it’s important to consider whether a dream sequence is the best method for delivering information within your novel.

Your first consideration should be how to deliver that information without going to a dream, unless for some reason the dream is plot related. For example, emotions, passions, fears, and hopes can and should be SHOWN throughout the story. Readers should be well aware of your character’s emotions from your storytelling. A caveat to this would be to show just how deeply someone is affected, but a dream should not be the how readers learn about those feelings.

But how about delivering historical information? Using dreams to show readers what happened in the past is a viable way of doing it … if what you’re trying to relay is something extremely relevant to the character’s present. For example, it might be used to show happy memories of childhood when the absence of those happy memories is impacting their actions and decisions now. Or those dreams could be trauma related, showing the reader why the trauma still lingers. A good example of when this might be used is when relaying this information through dialogue would be unnatural or boring without the actions involved. Another might be how true flashback scenes can be disruptive to the narrative, thus slipping into a dream when you plan to reference that information throughout the story might be a better choice.

However, you should keep in mind that dreams are not usually flashbacks (some exceptions apply), and are hazy, random, and often nonsensical. Personally, I have incredibly vivid dreams. They’re epic stories with epic level of detail, to the point I’ve only met one or two people who dream like I do. Still, I could be in the middle of one of these movie-like dreams and end up giving CPR to a bunch of cut celery (I’m not kidding, this actually happened). In the last segment of this D-Script, I give examples of my dreams for those of you unfamiliar with abnormally vivid, movie-like dreaming. It might give you an idea of what the extreme looks like, and what is unfamiliar to almost everyone, thus what might seem abnormal to your readers. Heck, even with the way I dream, I find some authors write them with far too much detail and cohesiveness!

BEFORE WRITING A DREAM SEQUENCE, CONSIDER THIS

  • Ask yourself if the dream serves a purpose greater than ‘a cool scene’. If the dream isn’t crucial to the plot or character development, if it doesn’t help the reader understand something better, you may want to reconsider using this storytelling tool.
  • Next, ask if the information you want to deliver can be revealed through dialogue, memories, or other storytelling techniques without sacrificing impact or disrupting the flow of the story.
  • If you’re absolutely sure that a dream sequence is the best way to reveal this information, plan how you’re going to be sure the reader isn’t left lost because they don’t know if it’s a dream or reality. We will talk a bit more about this later.
  • Finally, can you write this dream sequence without making it look like you had no idea how to relay this information otherwise? Dream sequences have been improperly used too often to make up for a lack of planning or forethought by the author. Basically, they use the dream to info dump. If there is no purpose to the dream other than to do that, many readers will catch on and see weak writing. Near the end of this article we talk about what to avoid when writing dreams.

TIP: Consider AI images as a good comparison to dreams. They can be vivid and beautiful, put together amazingly, but there are a TONNE of things in them that aren’t rendered right or don’t make sense. As such, writing them as cohesive and clear scenes, just like any other in your book, seems unnatural.

What Dreaming Is: The Science of Dreaming

Everyone dreams differently. Personally, to me it’s weird when hear about people who don’t remember their dreams (I often remember multiple a night, sometimes up to 4) or how some dream in ‘thoughts’ (obvious ‘brain sorting through what happened today’ dreams rather than stories). Yet still others dream in black and white * and some people don’t dream in images at all **. The best thing we can do as writers is try to find the middle ground where most people can relate or be clear why these dreams we’re writing are different. To do this, let’s talk about what we know about sleep and dreaming.

*source: https://sciencedirect.com/science/article/abs/pii/S1053810008001323
**source: https://www.sciencefocus.com/the-human-body/aphantasia-life-with-no-minds-eye

When and Why do We dream?

Sleep occurs in stages, and we experience different things in each one. While we can dream during any stage, we’re most likely to remember dreams when we experience the deep levels of sleep that promote REM sleep (Rapid Eye Movement). Everyone dreams, even if they don’t’ remember doing so, though some people may not reach REM sleep some nights, which can be for a whole host of reasons. It’s unclear why some people can vividly recall dreams and others not at all. There is some data to support that people who dream vividly may have longer REM cycles than others or could be affected by sleep deprivation or conditions like narcolepsy.

That said, sleep stages and the lengths thereof can be affected by medical conditions or by medications, sleep quality, drug and alcohol use, age, and much more. Numbers quoted below are generally agreed upon norms for adults. If you’re writing a teenager, I’ve found an article you may be interested in: Dreaming in Adolescence and Young Adulthood

The Sleep Cycle (4-6 cycles a night)

STAGE 1 NON-REM SLEEP: 1-7 minutes after sleep onset and lasts under 10 minutes
This is the stage between wakefulness and sleep. It’s a light stage of sleep where muscle activity decreases, and heart rate and breathing slow down. During this stage, people may experience sudden muscle contractions or a sensation of falling (hypnic jerk/hypnagogic jerk).

STAGE 2 NON-REM SLEEP: starts after stage 1 ends, lasts 10-60 minutes but get longer with each cycle
A slightly deeper stage of sleep. Brain wave activity slows, and there are occasional bursts of rapid brain activity. During this stage, your heart rate and body temperature drop.

STAGE 3 AND STAGE 4 NON-REM SLEEP (SLOW WAVE SLEEP): starts after stage 2, lasts 10-25 minutes per stage
These are the deepest stages of non-REM sleep, and it can be difficult to wake a person while they’re in them. During these stages, the body undergoes various restorative processes, such as tissue repair, growth, and immune system strengthening.

REM SLEEP: starts about 90 minutes after sleep onset and lasts generally 10-60 minutes, getting longer with each cycle
REM sleep is the stage of sleep most associated with the dreams people remember and tend to be more vivid. During REM sleep, our brains are highly active, almost as active as when we are awake. Our bodies also experience temporary muscle paralysis to prevent us from acting out our dreams or talking in our sleep.

DREAM FACT: 90% of dreams are forgotten within 10 minutes of waking

If you want to learn more about these stages of sleep, you can try any one of these links:

You can also check out some additional resources on sleep in our post: Describe it: Tiredness/Exhaustion

What are Dreams?

There’s a lot of speculation around the purpose of dreaming, but there are more and more studies and technology is ever growing. This post was made in 2023, so take that into consideration.

According to an article by the Cleveland Clinic, “…dreaming may represent important cognitive functioning. Brain activity that occurs when we’re dreaming is similar to the memory processing brain activity we experience when we’re awake.” Dreaming appears to serve several purposes, from helping us process our emotions, to filing memories and information from the day to nightmares which may teach us how to react in threatening situations.

Dreams can be little more than thoughts, or they might be brief and fragmented, or long and detailed. They may contain basic sensory perception or not. It’s hard to gauge what any one person’s dreams will be like. One person may have the perception of smell in their dreams, whereas others may never have experienced that, for example. What we can generally say about dreams is:

  • They are often in first-person, though not always
  • Dreaming often provokes strong emotions
  • Everyone has them, regardless of whether they remember then (usually 4-6 a night)

WHAT IS LUCID DREAMING?
Some people can lucid dream, which means they can control their dreams and/or are aware they’re dreaming. That said, not everyone who’s aware they’re dreaming can control the content of the dream. One can increase their chances of lucid dreaming by keeping dream journals, thinking about and trying to recall details of dreams upon waking, remind yourself often you are trying to lucid dream (thus programming your brain to do this). Frequent lucid dreaming can cause problems with the sleep cycle and cause sleep deprivation*.
*source: https://www.sleepfoundation.org/dreams/dangers-of-lucid-dreaming

DREAM FACT: Most people do not have control over their dreams. Lucid dreaming is considered rare. Only half of people have experienced it at all, and only 20% experience it monthly, and 1% regularly through the week*. If you want to make your story resonate with readers, either downplay the control your characters have over dreams or play into people’s wants to be able to control their dreams.
*source: https://www.sciencedirect.com/topics/neuroscience/lucid-dreams

WHAT ARE NIGHTMARES?
Nightmares are thought to be our minds trying to sort through our daily stresses or emotions that we may not even recognize that we’re feeling. They may also be our mind’s way of training us to react in stressful or threatening situations while we’re awake. But this is a more complex topic so let’s get into it:

Fear and Trauma in Dreams

Dreams tend to sort through our deepest fears and unresolved traumas, especially when we aren’t addressing them during our waking lives. Unfortunately, dreams also tend to ramp up our emotions to powerful levels we don’t experience when we’re awake. They can manifest as vivid and unsettling scenarios, tapping into our most primal fears and unresolved trauma. As someone who has PTSD, I have firsthand experience with some of the worst of these. I’ll likely write a post later in the mental health section of this site about PTSD where I’ll include my personal experiences with it.

Trigger warning for this next paragraph – description of gore

Nightmares can be as simple as processing those emotions we spoke about, or they may be reliving past traumas or confronting phobias. Your mind may do this in a logical way, directly approaching the subject or in more abstract ways. For example, my PTSD was the result of a medical procedure going horribly wrong. Whether due to the way my mind works, or the fact I was unconscious for large portions of that, my mind came up with more abstract ways of dealing with it. Rather than reliving the direct experience, my brain made up scenarios like being hung on meat hooks and cut open. Great, huh? Yeah, those nights sucked.

End of trigger warning

Speaking from experience, trauma nightmares are wildly different than standard nightmares. They’re more emotionally charged, full of more vivid imagery that addresses specific strong fears and can be debilitating due to poor sleep and frequency. It gets worse the more you anticipate them, basically making the nightmares a self-fulfilling prophecy. Additionally, they make sleep a place of fear and can cause one to be afraid to sleep.

PTSD isn’t the only condition that can lead to nightmares like described above. But before we get into that, it’s important to remember that nightmares can be triggered by a wide range of factors and are not exclusive to individuals with mental health conditions. However, when nightmares are persistent, intense, and significantly disrupt daily life or sleep patterns, you should seek help from your doctor. Treatment for nightmares may include therapy, medication, and addressing any underlying mental health conditions.

As times permits, I’ll get to more articles under the Describe It: Mental Health section of this site covering these and other conditions in more detail.

Nightmares are vivid, distressing dreams that can cause fear, anxiety, or unease and often wake the dreamer. They’re a common phenomenon and can be triggered by a variety of factors, including stress, anxiety, trauma, medications, or certain medical conditions.

Post-Traumatic Stress Disorder (PTSD) is a mental health condition that can develop in individuals who have experienced or witnessed a traumatic event. Nightmares are a core symptom of PTSD. These nightmares often revolve around the traumatic experience and can be extremely distressing. Nightmares in individuals with PTSD can contribute to sleep disturbances, heightened anxiety, and emotional distress.

Individuals with PTSD may experience flashbacks, intrusive memories, and nightmares that vividly recreate the traumatic event (or similar). These nightmares can lead to sleep difficulties and may contribute to the overall psychological and emotional challenges faced by those with PTSD.

Generalized Anxiety Disorder (GAD) is characterized by excessive and persistent worry and anxiety about various aspects of life, often unrelated to specific traumatic events. While GAD itself doesn’t necessarily cause nightmares, the chronic stress and anxiety associated with this condition can lead to disturbed sleep, including an increased risk of experiencing nightmares.

Depression is a mood disorder marked by persistent feelings of sadness, hopelessness, and a lack of interest in activities. Nightmares can be a symptom of depression, and they often reflect the emotional distress and turmoil experienced by individuals with this condition. Depressive nightmares may include themes of loss, guilt, or hopelessness.

Borderline Personality Disorder (BPD) is a condition characterized by unstable moods, impulsive behaviors, and difficulty in forming stable relationships. Nightmares may occur as part of the emotional turmoil associated with BPD, reflecting the intense and unstable emotions experienced by individuals with this condition.

While much about sleep and dreaming is still being figured out, scientists and psychologists have noticed trends in what people dream about, and how that relates to struggles they’re experiencing or have experienced. I mentioned previously that I have PTSD, technically complex PTSD. Part of my therapy, which was through an outpatient hospital service, was addressing the dreams and nightmares I had. So, I can tell you from personal experience addressing dream imagery is in fact part of professional therapy. BTW, the focus was on recurring themes in my dreams.

All this said, keep in mind imagery can have different meanings to different people depending on their life experiences, religion, and culture. The below are generalized and generally agreed upon meanings in western cultures.

DREAM FACT: Other people in our dreams most often represent aspects of ourselves or feelings we associate with that person.

FLYING
This imagery in dreams is thought to represent a desire for freedom and liberation. Flying often signifies a sense of empowerment, escaping constraints, and seeking higher perspectives. It may indicate a yearning for success or the ability to rise above challenges.

Challenges with flying may represent you holding yourself back or the feeling you’re being held back by an external force.

BEING CHASED
Being chased in a dream is often associated with stress, anxiety, or avoidance of a looming issue or aspect of yourself. It can represent a fear of confrontation, a need to confront unresolved problems, or a sense of being pursued by one’s own insecurities. If you have experienced being chased, your mind may be sorting through the fears associated with that, processing them so you can move on.

FALLING
Falling in dreams is linked to a sense of loss of control or insecurity. It may symbolize a fear of failure, a loss of stability, or feelings of vulnerability. Alternatively, some interpret falling as a sign of letting go and surrendering to life’s uncertainties.

TEETH FALLING OUT
Teeth falling out is frequently associated with concerns about appearance, self-esteem, or communication. It can signify feelings of powerlessness or a fear of being judged. In addition, it could also be a representation of fear or anxiety about one’s health or physical well-being. It may signal concerns about aging, illness, or a lack of control over one’s body. If you’ve experienced significant (to you) health concerns and are dreaming about this or medical events, your mind may be sorting through the fears associated with that, processing them so you can move on.

BEING NAKED IN PUBLIC
Dream psychologists often interpret this dream imagery as a manifestation of vulnerability, embarrassment, or a fear of exposure. It can signify concerns about self-image, social acceptance, or a feeling of being judged by others. The dreamer’s reaction to being naked in a dream can say a lot about their mental state and resilience.

BEING LOST OR ABANDONED
This dream imagery is typically linked to feelings of confusion, uncertainty, or a sense of being directionless in waking life. It may indicate a need for guidance, self-discovery, or a search for purpose. It can also reflect fears in regard to being left alone by those you love or be a representation of self-esteem and self-worth issues.

MEETING DECEASED LOVED ONES
Dreaming of deceased loved ones is often seen as a way of processing grief, seeking closure, or experiencing a longing for connection with those who have passed. It can be a comforting and healing experience.

DROWNING AND SUFFOCATION
Drowning or suffocation in a dream can symbolize feelings of being overwhelmed, being submerged in emotions, or a fear of being consumed by a situation. It may suggest a need to confront and manage emotional challenges. Note that experiencing these dreams could also potentially indicate breathing issues while asleep, such as sleep apnea. If you experience these dreams regularly along with tiredness, waking up gasping, and/or snoring, you should talk to your doctor. Untreated sleep apnea can have serious consequences.

BEING UNPREPARED FOR A TEST
Dreaming of being unprepared for an exam or presentation often reflects feelings of inadequacy, fear of failure, or performance anxiety in waking life. It may signify a need for better preparation and self-assurance.

PUBLIC SPEAKING AND STAGE FRIGHT
Experiencing anxiety or fear related to public speaking or stage performance in dreams can mirror real-life anxieties about being judged or evaluated. It may suggest a need to boost confidence, seek support, or confront social fears.

BEING LATE OR MISSING AN EVENT ENTIRELY
Dreams of being late or missing an important event can signify a fear of missing out, neglecting responsibilities, or the pressure of time constraints.

BEING TRAPPED
Feeling trapped or imprisoned in a dream is often associated with feelings of entrapment or restriction in one’s life. It may symbolize emotional or situational constraints and the desire for freedom or escape. If you’ve experienced being trapped against your will, your mind may be sorting through the fears associated with that, processing them so you can move on.

EXPERIENCING NATURAL DISASTERS
Dreams of natural disasters like earthquakes, floods, or tornadoes may represent a perceived lack of control in one’s life, overwhelming emotions, or a sense of impending crisis. It can signify a need for stability and a desire to weather life’s challenges. Note, having these types of dreams when living in an area prone to natural disasters could reflect your fears of being caught in them. If you’ve been caught in a significant natural disaster, or had a loved one experience them, your mind may be sorting through the fears associated with that, processing them so you can move on.

TRANFORMING INTO A DIFFERENT CREATURE OR PERSON
Transforming into a different person or animal in a dream can signify a desire for change, self-exploration, or the need to adopt different traits or qualities.

DREAM FACT: Changing our mindset about recurrent nightmares can help ease them.

PERSONAL NOTE: In PTSD therapy, I learned to not focus on the emotions I felt due to the nightmares, but to thank my brain for sorting through the trauma so I could heal from it. This had a dramatic positive impact on the intensity and frequency of these nightmares over an arguably short time.

So, How Do We Write Dreams Convincingly?

Your dream sequences should ALWAYS be a part of the story itself. It needs to drive the narrative forward as well as be a tool for character development. Never just have a dream sequence for flair. Remember that in your story, every word counts. Every scene means something. Having a floating, dislodged dream sequence will not only confuse your readers, but make your writing appear weak.

Through dream sequences, you can deepen character development, convey critical plot points, and elicit emotions in your readers. When crafted thoughtfully, they can reveal hidden aspects of characters, foreshadow key events, and add layers of complexity to your narrative.

Let’s delve into how to write dream scenes. Finally! We’ll have subsections below that may repeat some of this information but are relevant to specific uses of dreams, such as when you’re using it for the symbolism, or if the dream is the result of another character influencing the main character through paranormal means.

For now, the basics!

REMEMBER: Dreams can be all over the place in regard to content, clarity, and purpose. However, it’s important to note that most people do not dream vividly in cohesive storylines. This is important if you want your character to be relatable. There’s a reason in movies why dreams are usually portrayed with a blur, lens flares, and as disjointed.

WRITE CHARACTER-CENTRED DREAMS
Focus on the dreamer—your point-of-view character. What are their fears, desires, regrets, or unresolved conflicts? Have you relayed these or hinted to them in the narrative leading up to this (given the opportunity, you probably should).

FOCUS ON PROVOKING EMOTIONS AND MOVING THE PLOT
Ensure that the dream scene evokes emotions and supports the plot moving forward. Dreams often tap into intense feelings, and your character’s dream should be no exception. Consider the character’s emotional state in the dream and how it influences their waking actions. Then, consider how relaying this information benefits the plot and becomes a part of it rather than just a floating scene.

REFLECT INNER CONFLICTS
Explore the character’s inner conflicts within the dream. Let their subconscious grapple with dilemmas, regrets, or unresolved issues.

USING SYMBOLOGY AND METAPHOR
The first subsection below goes into depth about using dreams in this manner. Scroll down for a deep dive into this subject.

ARE YOU FORESHADOWING SOMETHING?
The second subsection below goes into depth about using dreams in this manner. Scroll down for a deep dive into this subject.

TRANSITIONING IN AND OUT OF A DREAM SEQUENCE
A smooth transition is integral! Avoid jarring shifts in the narrative by focusing on the dream being logically and purposely integrated into the story, ensuring it doesn’t disrupt the flow. Here are some tips on how to do that:

How to Initiate a Dream Sequence

  1. Ensure the reader knows the dream is starting. You can do this by having them go to sleep, or strongly showing it in the initial parts of the dream. Perhaps they’re confused by something being fantastical, or how they find themselves back in an old situation.
  2. If the dream is only a dream, integrate imagery that defies reality or is clearly fantastical or out of the norm. This could be people appearing or disappearing, sudden changes in surroundings, a banana with a cleaver chasing a tiny dragon down the street. Regardless, don’t forget to describe emotions!
  3. If you’re showing the character being unaware they’re in a dream and don’t want it immediately obvious, transition gradually by introducing subtle, dreamlike elements before delving into the full dream experience.
  4. Always keep in mind the point and purpose of the dream.

How to Transition Out of a Dream Sequence

  1. Just like you would end any scene, use a distinct event, symbol, or phrase that signals the end of the dream and return to reality.
  2. You can also show the character’s gradual realization they’re waking, allowing readers to share in their transition. Perhaps they start to realize they’re in a dream and that alone starts to wake them. Or maybe the dream begins to fall apart. That said, you can go the opposite way and have someone snap out of a dream because there was a major emotional moment that jarred them awake. I’d recommend not ending a chapter with this but showing the dreamer waking and their deep emotional reaction to what just happened first.
  3. One they’re awake, make sure you tie their response to the dream to the story. Talk about it, explore it, have it follow them or pop up periodically for a few more scenes. Use the dream’s emotional impact to influence the character’s thoughts and actions upon waking. Keep in mind though, that while an emotional impact may linger, it will only do so for a day or so at most. As previously noted, 90% of dream content is forgotten within 10 minutes. Emotional impacts may last longer or may be swiftly forgotten as well.

Using Dreams as Allegory

It’s not uncommon for writers to use dreams as powerful allegorical tools to explore deeper themes, emotions, and human experiences. Here, we’ll delve into the art of using dream material as allegory in your story.

DEFINITION: Allegories are used to convey complex ideas, themes, or concepts using symbolic representation, allowing for layers of interpretation. They serve to convey moral, philosophical, or political messages in a more indirect and thought-provoking manner.

Beware of Overuse!
While dream subject matter can be a rich source of allegory, it’s essential to use it thoughtfully. Overusing dreams as allegorical elements can risk feeling clichéd or gimmicky, or worse, as a support for poor planning and weak writing. To maintain their impact, dreams should be integrated seamlessly into the narrative and serve a genuine purpose. Also, leaving too much of your story to interpretation risks losing your reader entirely because they don’t know what’s going on and can’t attach to it.

Understand the Symbolism of Dreams
We covered dream interpretation above and the generally held beliefs about what they mean (in western culture). However, keep in mind what I said about different cultures and religions having different views on this. For example, in some cultures people experience sleep paralysis and see horrifying and threatening images as their brain tries to understand what’s going on while dreaming in a semi-conscious state. In some cultures that isn’t a thing. People with sleep paralysis don’t find it traumatic and often see positive imagery.

After you’ve considered that, start by familiarizing yourself with the symbolism commonly associated with dreams either by using the above explanations and/or by studying the culture and religion of the person you’re writing. Dreams often employ metaphors and symbols themselves to represent thoughts, emotions, and experiences from the dreamer’s waking life. Understanding this symbolism is crucial for creating allegorical interpretations.

Identify Your Allegorical Theme
Determine the specific theme, message, or concept you want to convey through your dream allegory. This could be a moral lesson, a philosophical idea, a comment on human nature, or a reflection of individual experiences.

Craft Your Dream Sequence
Create a dream sequence that vividly captures the essence of your allegorical theme. The dream should be rich in symbolism and imagery that relates to your chosen theme. Use sensory details, emotions, and abstract or surreal elements to enhance the dream’s impact.

“Although numerous studies have investigated the content of laboratory and home dream reports, surprisingly little is known about the prevalence of various sensory modes in dreams. 49 men and 115 women completed a battery of questionnaires and kept a home dream diary for two to three consecutive weeks. Retrospective responses to the questionnaire indicate that approximately 33% of men and 40% of women recalled having experienced sensations of smell or taste in their dreams. A total of 3372 dream reports were collected and scored for unambiguous references to auditory, olfactory, and gustatory experiences. Auditory experiences were reported in approximately 53% of all dream reports. Olfactory and gustatory sensations occurred in approximately 1% of all dream reports. A significantly greater percentage of women than men reported one or more dreams containing references to olfactory sensations. The results lend support to previous studies which have shown that a variety of sensory experiences, although relatively rare, can occur in dreams.”
*source: https://pubmed.ncbi.nlm.nih.gov/9885043/

Weave the Dream into the Narrative
Integrate the dream into your story. It should connect with the characters, plot, or central themes of the narrative. The dream should feel like a natural part of the story rather than an isolated or forced element.

Reflect Character Growth
Consider how the dream’s allegory contributes to character development or the overall narrative arc. Does the dream impact the characters’ choices, growth, or understanding of the allegorical theme?

Avoid Heavy-Handedness
While dreams can be allegorical, avoid being overly explicit in the allegory’s message. Subtlety and nuance often make for more engaging storytelling. Allow readers or viewers to explore the allegory without feeling like they are being spoon-fed the meaning.

Consistency and Coherence
Ensure that the dream allegory is consistent with the tone and style of your narrative. It should blend seamlessly with the overall storytelling.

Using Dreams to Foreshadow Plot

Dreams can serve as a powerful foreshadowing tool in your storytelling, hinting at future events, creating suspense, and engaging your audience’s imagination. Here’s a guide on how to use dreams effectively for foreshadowing in your narrative, along with recommended considerations:

BE CLEAR ABOUT YOUR FORESHADOWING INTENT
When planning, clarify what you want to foreshadow. Identify the key events, plot twists, or revelations you wish to hint at through the dream. Understanding the intended foreshadowing elements is crucial for effective storytelling, not just in dreams either!

DROP SUBTLE CLUES
These dreams should provide subtle, rather than explicit, hints about what’s to come. Use symbolism, imagery, or abstract representations to allude to future events. The goal is to intrigue the audience, not to reveal everything.

BE CONSISTENT WITH YOUR STORYLINE
Ensure that the dream’s foreshadowing elements are consistent with the overall narrative. They should align with the story’s themes, characters, and tone, thus creating a seamless connection between the dream and the plot.

FOCUS ON EMOTION
As previously hammered into this entire post, engage emotions. Make the dream emotionally resonant, evoking curiosity, anticipation, or even a sense of dread. The emotional impact can heighten the audience’s investment in the story. This is ultimately true of all your writing, not just dreams.

BE VAGUE WHERE IT MATTERS
You want to allow your character and your readers to have multiple interpretations of the dream. You want them to wonder if they’re right. Curiosity (and a healthy need to have seen it coming) will keep your readers locked into your book.

BALANCE FORESHADOWING AND SURPRISE
Remember, the dream shouldn’t give away the plot. Foreshadowing should enhance the story without making the upcoming events completely predictable.

BE SELECTIVE ABOUT TIMING
Put a lot of thought into when to introduce the dream foreshadowing, just like you would with any scene meant to foreshadow something. Perhaps even using more consideration.

HAVE YOUR CHARACTER REACT
Only you can tell how your character will react, but it should be consistent with what readers know or it should at least show the reader who the character is. It’s possible the character will dismiss the dream, or they’ll take it seriously and dwell, setting to work trying to decipher the meanings. Maybe they’ll see signs of it everywhere!

When Dreams are Influenced by Another Character

Dreams influenced by another character can show your readers a lot about everyone involved, not just that they have the power to do this! It highlights a connection between two characters and can reveal hidden motivations and desires. The video game Baldur’s Gate 3 used repeated dream sequences influenced by what some people might consider a morally grey character to influence the plot. People playing the game either thought of this as heroic or immensely manipulative. It was so impactful, there are a tonne of articles, videos, and online debates about it. People loved how the writers did this. I highly recommend looking at some videos of this to get a good grasp on successful dream sequences.

SOILERS IN THIS NEXT 2 PARAGRAPHS…SORT OF

The way the writers at Larian Studios did this employs a lot of what we’ve already talked about. They wove a mystery around this person, they appear to be self sacrificingly good, out to save you and the world. However, a lot of doubt is sewed into the story about them throughout the story. The developers even let you decide what your “guardian” looks like, with many people deciding to create them as idealistic reflections of attraction.

If you love dissecting how people act, you can see clear manipulation tactics being employed, but also something genuine there. It leaves the player really on edge as to whether to believe them. People have strong feelings about what this character turns out to be and their influence over the story is significant.

Anyhow, let’s continue with less talk about the game.

Why might you want to use this narrative tool? Well, by having one character influence another’s dreams, you can delve into the dynamics between them. This can reveal hidden motivations, fears, desires, or connections, adding depth and complexity to both characters, or can be used to explore power dynamics or strengthen relationships…or create tension and division. This can also be an amazing way to foreshadow what’s going to happen between these characters later, whether that’s a thanks or a fight!

Dreams Influenced by a Protagonist (a good guy)

An entity or person trying to help the point of view character may be doing so for multiple reasons. Let’s talk about how you can use this device in this dynamic.

THEY CAN BE GUIDING OR INSPRING
The helping character can gently steer the main character’s dreams toward visions of courage, inspiration, or wisdom. These dream-guided moments can serve as a moral compass, offering solutions to dilemmas, providing guidance in times of uncertainty, or offering the main character newfound strength to face challenges. The key to remember is that the good guy influencer *thinks* they’re doing what’s right. Genuinely believes it.

THEY’RE PUPOSE MAY BE TO UNVEIL SECRETS OR TRUTHS
This sort of interference may be the only way this character can communicate with this person, or the only way they can do so without the bad guy knowing they’re interfering, either protecting the helper, point of view character, or both. This can be a way to unlock doors to the main character’s past, motivations, or the mysteries of the world they inhabit. The dream weaver can create symbolic dreamscapes that offer cryptic clues and hints.

HELP WITH OVERCOMING FEARS AND DEMONS
This dream weaver might help create a battleground where the point of view character confronts their inner demons and unresolved conflicts. They can engineer dream scenarios forcing the point of view character to face their deepest fears, traumas, and character flaws.

DRIVING URGENCY IN THE PLOT
It’s possible the point of view character doesn’t understand how integral something is or what’s coming. The dream weaver can use these dreams to relay information that otherwise the point-of-view character wouldn’t be able to get, propelling them forward, and increasing the stakes and consequences.

CREATING CHALLENGING ETHICAL AND MORAL DILEMMAS
The power to manipulate dreams can pose ethical and moral dilemmas for both characters. The main character may grapple with questions of free will, the authenticity of their experiences, and the consequences of dream manipulation. It can be seen as a violation of privacy and autonomy, or otherwise fostering distrust despite the intended purpose.

Dreams Influenced by an Antagonist (a bad guy)

An entity or person trying to manipulate, dissuade, or intimidate the point of view character can be used in multiple ways as well.

THEY MAY BE TRYING TO SOW CONFUSION OR FEAR
The antagonist can engineer nightmares that plague the main character’s sleep. These disturbing dreams can torment the main character, gradually eroding their mental and emotional well-being. As the point-of-view character’s nightmares intensify, the plot becomes a harrowing journey through their psychological turmoil.

IT COULD BE THAT TEMPTATION OR DECEPTION IS THE PLOY
Dream manipulation for dark purposes can present the afflicted character with seductive and/or deceptive dreams, luring them towards moral and ethical grey areas. These dreams can exploit the main character’s vulnerabilities, pushing them toward morally compromising choices, and testing their resilience and character.

THE CREATION OF FALSE ALLIES AND BETRAYALS
The antagonist can use dream manipulation to introduce false allies and fake camaraderie within the main character’s dreamscape. This fosters a sense of trust and camaraderie that’s ultimately revealed to be treacherous, causing the main character to question their relationships.

PROVOKING DOUBT OR AN IDENTITY CRISIS
That villain may be out to create scenarios that shatter the main character’s self-confidence and provoke an identity crisis. These dream-induced experiences force the main character to question their purpose, past, and beliefs, destabilizing their sense of self and pushing them to the brink.

CREATING DESPERATION AND DESPAIR
As dream manipulation intensifies, the antagonist can lead the main character into a state of desperation and despair. They can engineer dreams where hope is elusive, and challenges seem insurmountable, creating an emotionally charged backdrop for the climax of the story.

What to Avoid When Writing about Dreams

While dreams can be a captivating tool, there are common pitfalls and clichés writers should steer clear of. To wrap this D-Script up, lets delve into common mistakes, cliches, and tropes to avoid, if you can.

THE ALL-ENCOMPASSING PROPHECY
We talked before about keeping your dreams with a sense of mystery. Specifically, the dreams in your book shouldn’t give away the plot. Overly prophetic dreams that predict the entire plot can feel contrived and lack nuance, worse, steal the thunder out of your story. They remove the element of surprise and tension, reducing the reader’s engagement.

INCEPTION – A DREAM IN A DREAM
Obviously, the movie Inception did well with this style of story, but it wasn’t only extremely well planned but a key major feature of the movie. Your book is not likely to be about dreams within dreams within dreams, etc. and without visual context writing that story could be confusing for your reader. Readers may struggle to distinguish between different dream levels and reality. Instead, opt for clarity in dream sequences, ensuring that the reader can follow the narrative without becoming lost.

THE MOVIE-LIKE DREAM
This is another point we touched on earlier. Dreams that are too logical and coherent can feel artificial, this is coming from someone who has almost movie-like dreams. Dreams tend to be disjointed, filled with surreal and non-linear elements. Strive for dream sequences that combine the vivid and the abstract.

EXPOSITION DUMPING
Remember that all dreams are supposed to have a clear purpose that progresses the plot and character development. They shouldn’t be used to dump information when you can’t think of another way to sprinkle it throughout the story. While dreams can convey information, using them solely as a convenient means to dump backstory or plot details is heavy handed and weak writing.

UNEXPLAINED DREAM SYMBOLOGY
Employing dream symbols without context or explanation can leave readers puzzled. YOU might have this amazing concept, but you need to keep the reader in mind. They don’t know what you do. They will be confused and feel disjointed. While symbolism is a powerful tool, it should be used with consideration. Give the reader something to work with at least.

RESOLUTION OF DANGER
Don’t use dreams as an escape hatch from difficult situations. This can undermine tension and character growth. If the main character can simply wake up to resolve challenges, it weakens the stakes. Instead, encourage characters to confront and overcome obstacles in both waking and dream worlds.

BEWARE OF NIGHTMARES!
Relying heavily on nightmares can emotionally fatigue readers. A constant barrage of frightening or distressing dreams can desensitize the audience. The same goes for any horror, shock, gore, or otherwise negative emotions in writing. They need to be well balanced to give the reader breaks from all the negativity.

IT WAS ALL JUST A DREAM
If there’s one thing I’ve heard from readers on this subject, it’s how much they revile this device. I’ve touched on this throughout this post. Most people comment on feeling robbed. That all their emotional investment was for nothing. That nothing meant anything. While the use of “it was all just a dream” as a conclusion, whether applied to an entire plot or a specific scene, can be employed effectively, it’s frequently met with disappointment and confusion.

Also, this includes starting a book with a dream. Your first scenes shouldn’t cause your reader to become dislodged from the narrative when they’re first trying to understand the characters and plot.

Vividly Dreaming: I Talked About It. Here’s What it Looks Like

I’ve talked repeatedly about my experiences with regular vivid dreams throughout this D-Script. Often, that’s to inform those of you who don’t dream like I do (which is most people), what that can look like. But what does it actually look like?

Funny enough, I often scribble out dreams on Facebook for my friends as several are fascinated by how I dream. So, here’s the context of some of these posts. REMEMBER: THESE ARE NOT WELL WRITTEN. This is me waking up at 3 am from a particularly cool/potent dream and putting these dreams to words.

Though these may seem descriptive, they’re still summaries of my dreams, with strange and random details cut out for clarity. Sometimes, those details didn’t even make sense in the dream…like giving CPR to the cut celery I mentioned earlier.

Many of my dreams, despite their clarity, I no longer remember having. Or I may remember in a vague way even though they’ve all happened in the last 6 months and are hardly the only ones! Remember how I quoted the stat of 90% of dreams being forgotten within 10 minutes of waking? That doesn’t change for vivid dreamers. Also, despite how vividly I dream, I do not experience all senses. I tend to experience sight (obviously), sound, and touch, rarely taste, and never smell.

DREAM 1
A man follows a woman with short platinum blonde hair into the mansion of a family with old money. I’m following him, but he’s smitten with the woman and despite being my friend, he lets the door slam in my face as if I’m not there. Yet when we get inside, the woman is gone and it’s dark. The hall stretches to the left and right, seemingly endless. We head that way and find countless rooms. We can hear whispers at times and try to follow them, but they seem dangerous, and we seem to be intruders.

We decide to head to the right, but the entrance has disappeared. The hall that way is filled with layers of black curtains we have to push through. We’re going faster and faster, and an image starts to show, moving like a flip book. It’s that of the statue of a woman, she reaches out, terror on her face, her expression pleading with us to turn back.

But when we do, we still can’t find the way out. Eventually, we stumble upon a room with glass doors that lead out into a garden. It’s dark, like it’s night despite it being daylight when we entered, and while we can see the street, hedgerows block the way. We go to turn back, but the garden is wilting, the ground turning to mud.

The woman with the blonde hair appears from inside. “I’m afraid my uncle has woken. It would be best if you left. In fact, it would be best if you sneak through the bushes to get out. Stay low. Don’t let him see you.”

As we turn back, the once healthy hedgerow is now dying. Sections have wilted to the point of being all but nonexistent. So, we do as she asks, crouch low and race through, eyes watching the windows half in fear he’ll see us, half in curiosity as to who this man is. As we make it out, the night turns back to day.

The dream skips, and I’m now watching, like a movie, not a part of the dream myself. My friend walks into a massive library within a university. It’s old, everything is polished wood. There is a big open area in the middle with a desk. My friend joins the man sitting there. He’s in his early forties at most, an Asian man with his black hair cut to his shoulders. A professor.

My friend lays out his life’s work before him, but it’s clear by the professor’s expression my friend has fallen vastly short of his expectations. Still, he offers for the man to help him with something anyway. Overjoyed, my friend rushes to leave. The woman with the blonde hair enters after, wearing a fitted red dress. She approaches the desk.

“They’re from baby families in the Americas. They think they have talent, but only one is showing any sort of potential.”

She lays my art portfolio on the desk, opening the rings that bind the pages. She begins to turn the pages for him, separating them into a haphazard pile on the desk, indicating he should look at them. But he doesn’t. He says he doesn’t need to. As the pages flip, he begins to describe the drawings without looking, defining them by the emotion of each subject.

He is smiling, the grin growing more devious with each page. He’s not looking at them or at her, but at me, the camera, the watcher. Like he sees me despite me being the dreamer.

DREAM 2
Last night I was in class back in high school, and we were going swimming. I accidentally wore my pants into the pool, so I went back into the locker room to change. When I tried to leave, I couldn’t find the exit. The locker room just kept getting bigger and bigger and bigger …

Then I was in the men’s locker room and embarrassed by my mistake, but then couldn’t get out.

I finally ran into the teacher and explained what seemed to be happening. He brushed me off originally, but then we realized he couldn’t find his way out either. No one could.

No small time later, I discovered what was happening. To stop a loved one from dying, someone kept resetting time. It seems to affect only this location. The reset wasn’t perfect though, and there were a few seconds in each reset that didn’t match up. So, I tried rushing to get out before the next reset. I did manage to get outside. There, I saw a god-like creature (think Final Fantasy summonables) start dropping a crystal. I surmised that once this crystal shattered on the ground, time would reset.

I was able to get the crystal before it hit the ground, and a fight between me and it broke out. Ultimately though, time reset, and I was back in the locker room. Everyone was panicking, not knowing what was going on. So, I got up on a bench and tried to explain it, but every time I tried to speak, they’d panic louder.

I woke up still trying to get everyone’s attention so I could relay a plan to them so we could get free.

DREAM 3
A large group of us got lost in the woods, needing to survive using saved images in my phone about what bugs and plants were edible. We ran into another group in long robes (think ornate D&D robes for clerics or wizards with an Aztec influence). They were also lost but had other resources. In exchange for my knowledge, we joined forces and engraved what I had in stone before my battery died.

However, they were more powerful than us. First, they started to strip power and autonomy from the women. Then we all became little more than slaves. Over time, this was just the way it was. Somehow, I became a priestess however, attuned to the gods of the earth, becoming unageing. Specifically, those of volcanoes. As such, I had to stand up and free my people.

I began to sing in another language that simply spilled out of me. The old volcanoes were dormant and gone, but as I sang and gestured, one began to rise from the earth. But as they’d been asleep so long, I needed to appeal more to the gods, so I began to sing again. This time I understood the words. They were of thanks, and stories of the old gods, and pleas that their people needed them.

A volcano rises from beneath my feet, lifting me and my people to the top where there was a pool of scalding water. I braced myself because I thought I needed to throw myself in, where I would boil alive. I couldn’t do it the first time and kept singing while I braced myself. The second time I leapt…but Jason (my husband) and one other grabbed my arms, stopping me from making myself a sacrifice.

DREAM 4
The challenge was that each team had to wander around the city trying to find certain symbols. When we found those symbols, we needed to take the golden sticker and put it in the workbook provided and write down where we saw it. The team that lost would freeze to death.

Throughout the dream, it got colder and colder, but every time we succeeded, it would warm a little. My team almost froze to death because we were in our bus too long looking for clothing to keep out the cold rather than looking for the symbols.

My team consisted of me, a GIANT, muscular Mongolian man without a shirt, a thinner but fit Chinese man, and some random white lady in yoga clothes. I kept pulling off layers I was wearing to give them to my teammates.

We were really struggling to find the symbols, but we started to get our shit together near the end of the dream.

It was, as always, very detailed. But hell if I can remember most of it now!

DREAM 5
Blearily written and without editing as usual: This is a long one and it’s rapidly fading but super cool, especially toward the end…but also a nightmare with many triggers so, take that under advisement:

For some reason I was up by the University bike riding when I realized I probably shouldn’t be doing that without a helmet. I only include that because it’s relevant to the larger dream, because once I crossed Crowchild (a major road in my city between the University and where I live) the dream skipped.

I was standing on the front porch of a large two-story house, goofing around with some children. I was on deck as they chased each other around. Behind me was no longer Crowchild, but a decent space of land between me and the road. I was just getting ready to leave, needing to get on my way, when the youngest girl (about 5 years old) came up and stuck her chewed up gum in my mouth. Somehow, it got caught between my teeth. I’m kind of grossed out, laughing and trying to pull it out as I walk away, going to look for my bike, which isn’t where I left it. As I’m walking around the house, trying to pull this gum from my teeth, I feel something else in there and I start pulling it out. It’s pulling like fine hairs from the bottom part of my tongue, like they’re embedded. It isn’t painful but feels super weird. So, I’m walking toward the back of the house, pulling and pulling and pulling slowly. When it finally stops, I’m holding a bunch of … hair. My hair.

“Oh, well.” I think, wondering what it would look like under a microscope, and how it got there before discarding it. (my ability to disregard this comes from a long history of similar experiences in my dreams I’ve more or less gotten used to)

I still can’t find my bike…until I find it tucked in some long grass behind a tree. It’s been stripped of its seat and its tires. Furious, I grab the frame and go stomping around to the front of the house, banging on the door, yelling how I won’t call the police if they come out and put it back together.

Reluctantly, a man and a woman come out, take the frame from me, and go to put it back together. Like a dumbass, I follow, trying to take pictures, telling them how it better work BEAUTIFULLY when a middle-aged guy comes out of the garage off the side of the house. He’s not as complacent. He starts shoving me and laughing, grabbing my arm, manhandling me, grabs my left breast…meanwhile, like the intelligent self-preserving person I am, I’m talking about how I can call the police and have them charged with this and that and the next thing. Listing crimes off like sexual assault, like they don’t know.

I do manage to break free and, with my bike, start leaving. I happen to run into some police officers in a field not far off, and I try to explain to them what happened, but as I’m doing this, that man appears and he’s in a police uniform. He’s talking with the other officers, laughing everything off, giving excuses as to what happened and telling them none of it was true.

When I realize nothing is going to be done, I head off the other way, which is back toward the house. This path takes me around the back of the house. As I pass, a beautiful woman steps out on a second story balcony. She’s heavily pregnant. I tell her that she wasn’t a part of this, and I’m not mad at her. I wish her all the best with her pregnancy.

For some reason, she’s switching dresses all the time. Like magic show style. I laugh and wave and say it’s really cool, but I have to go. When she realizes this, everything – including the sky and the house – starts getting darker. A look of utter sadness overcomes her face, and she climbs up on the railing as if to jump. I realize at this point that she’s a ghost. After I said I was leaving, things had switched to me seeing what had happened in the past. I realize, somehow, this is the fate of the woman who was entrapped by these people in this house.

I start hauling ass. Or at least I would have, but while I was distracted somehow the ground became riddled with needles sticking up and out of the soil there’s barely any place to put my feet. I can hear the man behind me talking to someone from the house about me and these needles.

I’m plucking my way through them, eventually giving up on the bike, trying to get away, but they’re even in the roads and they’re getting denser. I end up having to turn around and try to sneak past the house toward the main road again. Only the man finds me and is giving chase. He catches me in pretty short order, laughing cruelly, trying to lift me over his shoulder. I’m’ fighting, scratching, punching, hitting, kicking, screaming. I do manage to get the upper hand and knock this guy back. He topples, falls onto a bunch of the needles face first.

Carefully, I maneuver my way out into the clear field and am getting close to the road when I run into another police officer. In a panic, I tell him what’s happened, and he comes with me. He sees the needles, but the man is gone. The house is run down with white paint peeling, and it’s dark. But I point out the kids on the second floor in the windows. But they’re also on the main floor. Both floors are showing these pale husks of children with black holes for eyes. Ghosts of children killed by the people living there.

I start screaming for the police officer to look away.

We both turn, but it’s too late. We find ourselves standing in an open field.

There is no city in sight. Only the house.

SITE BROUGHT TO YOU BY

SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Describe It: Fabrics

Why the heck would you want to know about fabrics for your novel? Well, aside from these details can make our worlds more intricate and detailed, there are also a few other reasons. Here are some ones I can think of:

  • Describing a character’s choice of clothing, furniture, and preferred fabrics can offer insights into their personality, social background, or cultural identity.
  • Showing their fashion choices or how well they care for these items can also tell the reader a lot about the character. For example, is their clothing wrinkled? Is their couch stained? Or is everything pristine?
  • Incorporating fabrics specific to a particular culture or time can add authenticity to historical fiction or stories set in different cultures.
  • Depicting fabric choices based on social status can highlight power dynamics and class distinctions in society.
  • Describing the texture, feel, and appearance of fabrics can engage the reader’s senses and create a more vivid reading experience.

While I typically try to keep everything together, I’ve moved the furs and leathers information into its own post, as there is significant information to pass along for just those subjects. You can find that post HERE.

NOTE: Keywords were assisted by AI and fact checked. I will always try to be transparent when AI content may be present. I view AI as a tool that can be inconsistent and inaccurate, but a tool nonetheless.

Get Around This Post

Related Posts

This area will fill in the more subjects we’re able to get to.

Fibre vs Fiber

You will see I use the spelling ‘fibre’ instead of ‘fiber’, that’s because I’m Canadian. Our language is a ragged mishmash of American spellings and British spellings. ‘Fibre’ is British. If you are writing a book with American spellings in it, you would use ‘fiber’.

SOM ANY FABRICS!

There are SO many types of fabric that, while this list nearly has over 80 types, it is not exhaustive. If I’ve missed one you think is important, leave a suggestion in the comment section, and I’ll add it.

Note About Cost Ratings

Below, I’ve included an approximate rating for the cost of these fabrics in the form of a star rating. Note that cost of just the straight fabric is different than the cost of product made from that fabric and can be impacted by market conditions, quality, thread count, etc. A lot of modern fabrics are composites of two or more types of material as well.Additionally, cost can be influenced by quality and weave.

Note About Ethical Concerns

The notes on ethical debates are by no means extensive and may not cover all fabrics that have these concerns. It’s safe to assume though that if the fabric is naturally derived, there are likely environmental and possibly ethical concerns. If a fabric is synthetic, there are likely environmental concerns as these require the use of a lot of chemicals.

Reading Times

  • BCE (Before Common Era) is the same as BC, and CE (Common Era) is the same as AD
  • When you see something like “the 16th century” this denotes the 100 years before when you might think. That is that the 16th Century means the years 1500-1599.

REALLY Want to Deep Dive?

While I gathered this information from a lot of different sources, there is one site that I found really dove into the history and make of fabrics. Like, a lot more information than I think you would need for a book. However, some people love this stuff, so here’s a link to Sewport.

TIP! Want even more descriptive terms? Go to Thesaurus.com and look up the ones I’ve provided here! That said, remember that if you’re not familiar with a term, make sure to use the dictionary (available through that website) to look it up and see the usage of it. Better safe than use a word … imprudently 😜(see what I did there?)

Cost: ★★☆☆☆

Developed in 1927

ACETATE (Cellulose Acetate)
Delicate and refined, Acetate fabric, a synthetic material known for being smooth and lightweight. It’s often used for clothing, drapes, linings, evening wear, and bridal gowns as it drapes beautifully and moves in a flowy fashion. It’s also commonly used as a replacement for silk and is a type of rayon.

Acetate is created from renewable resources like wood pulp or other cellulose but is considered semi-synthetic due to how it’s processed. It became most popular in the early twentieth century.

Descriptive Terms: Smooth, Shiny, Lightweight, Silky, Satin-like, Luxurious, Cool, Delicate, Lustrous, Slippery, Soft, Slick, Glossy, Sheen, Elegant, Luminous, Polished, Reflective, Sophisticated, Gleaming, Opulent

Noise It Makes:

Uses: Eveningwear, Lining, Costumes, Blouses, Scarves, Ties, Dancewear, Formalwear, Lingerie, Accessories

Features: Hypoallergenic, Semi-Synthetic, Colourfast, Breathable, Non-absorbent, Static-resistant, Wrinkle-resistant, Cost effective, Affordable, Biodegradable, Dries Quickly, Resistant to Moth and Mildew, Burns easily, Wrinkles easily, Not durable, Dry clean only

Photo by josiah farrow on Pexels.com

Cost: ★★★★☆

First produced over 6,000 years ago by the Inca peoples

ALPACA FIBRE/WOOL/FLEECE
Alpaca yarn is derived from the fine fibres of Alpaca hair, typically the fleece, and has a luxurious texture that’s led to its widespread popularity in clothing and accessories. It’s lightweight but is warm, which makes it good for cool to cold weather items, though it can also transition to warmer climates as well!

Alpaca fibre is hypoallergenic, resistant to pilling, and comes naturally in white and beige to shades of brown, black, and gray.

Though you probably know what Alpacas are, for those who don’t Alpacas are a domesticated South American camelid, native to the Andes Mountains of Peru, Bolivia, Ecuador, and Chile.

Indigenous Andean people have used alpaca fibre for thousands of years. They prized it for its warmth and softness, using it to create clothing and textiles for protection against the cold and harsh mountain environments. In fact, this fibre was once called the ‘Fibre of the Gods’ and was used to make clothing for royalty.

In modern times, alpaca fibre has gained popularity worldwide as a luxury material for high-quality clothing items, accessories, and home textiles. It’s often compared to cashmere for its softness and warmth, but alpaca is considered more sustainable and eco-friendly due to the alpaca’s minimal impact on the environment.

Wool can be carefully washed in cold water only with wool-friendly detergent. Wool tends to shrink if not cared for properly.

Types: Huacaya, Suri

Descriptive Terms: Soft, Warm, Luxurious, Lightweight, Silky, Textured, Smooth, Comfortable, Stretchy, Fluffy, Plush, Fuzzy, Cozy, Drapey, Natural, Elegant, Warm-toned, Fine

Uses: Sweaters, Scarves, Coats, Shawls, Blankets, Socks, Hats, Mittens, Upholstery, Rugs

Features: Insulating, Hypoallergenic, Natural Fibre, Durable, Sustainable, Moisture-wicking, Water Repellent, Flame-resistant, Animal Hair, Not scratchy, Adaptable to warm weather, Wind Resistant, Stain Resistant

ETHICAL DEBATE: While alpaca wool is considered a sustainable and ethical fibre, there have been some ethical concerns related to the treatment of alpacas in the industry. These concerns include issues such as animal welfare, particularly during shearing, transportation, and farming practices. To address these concerns, responsible alpaca wool producers focus on implementing humane shearing techniques, ensuring appropriate living conditions, and promoting fair trade practices. Look for certifications like the Responsible Alpaca Standard (RAS) when choosing alpaca wool products to support ethical and sustainable practices within the industry.

source: https://angorabunny.club/2018/07/07/smoke-english-angora/

Cost: ★★★★☆

While domesticated as far back as 100 BCE, it wasn’t until the 20th century that Angora fur began being used for textiles.

ANGORA FIBRE WOOL
Fabric made from the finest fur of Angora rabbits has a fluffy and silky texture. Though lightweight, it still provides significant warmth.

The rabbit produces larger, less desirable guard hairs which lower the quality of the product if the rabbit is sheered versus plucked (plucking happens every 3-4 months with the rabbit’s natural molting cycle).

Products made from angora rabbit fur have a halo effect that creates a soft, fuzzy appearance.

There are several types of angora rabbits, including English, French, and German, each producing slightly different qualities of fibre. The most common type is the English angora, which has long, silky fur, while the French and German varieties have denser and shorter fur. German angora rabbits do not have a molting cycle. Angora rabbits must be brushed 1-2 x per week and sheered or plucked every 3-4 months with their molting cycle.

Naturally, angora fibre comes in white, tan, grey, brown and black with variations of those colours being common.

Angora can be carefully washed in cold water only with wool-friendly detergent. It tends to shrink if not cared for properly.

Descriptive Terms: Soft, Fluffy, Lightweight, Silky, Fuzzy, Warm, Luxurious, Delicate, Fine, Plush, fuzzy, Cozy, Pliable, Gentle, Cushy, Delicate, Elegant, Textured, Natural, Soft sheen, Suddly

Uses: Sweaters, Hats, Scarves, Gloves, Socks, Coats, Shawls, Blankets, Mittens, Upholstery

Features: Insulating, Natural Fibre, Hypoallergenic, Breathable, Delicate,

ETHICAL DEBATE: Angora fibre production has faced controversy due to concerns about animal welfare. Ethical considerations have led to increased scrutiny and efforts to ensure the humane treatment of angora rabbits during the harvesting of their fur. As a result, many brands now focus on sourcing angora from ethical and responsible producers.

Cost: ★★☆☆☆

First produced in East Asia several thousand years ago, but became more commercially available in the early 2000s

BAMBOO
Bamboo fabric is lauded for its silky texture. Its remarkable breathability and moisture-wicking properties ensure comfort in diverse climates. Beyond its comfort attributes, bamboo’s sustainability and eco-friendliness make it a good choice for those wanting environmentally conscious textiles. However, like other textiles made from plants (especially woods), strong chemicals are used to break the fibres down to something that can be used in this manner. If the fabric is made in a manner (mechanical vs. chemical) that doesn’t extract cellulose, it is not environmentally harmful.

Bamboo fabric is stretchier than cotton.

Descriptive Terms: Soft, Smooth, Lightweight, Silky, Comfortable, Drapey, Cool, Luxurious

Uses: T-shirts, Underwear, Socks, Bedding, Towels, Robes, Dresses, Activewear, Baby clothes, Scarves

Features: Breathable, Moisture-wicking, Antibacterial/Antimicrobial/Anti-Fungal, Biodegradable, Renewable, Hypoallergenic, UV-resistant, Eco-friendly, Antistatic, Plant-based, Eco-friendly, Sustainable, Absorbent, Stretchable

Cost: ★★★☆☆

First used centuries ago in the Philippines. More concrete timelines date back to 13th century Japan.

BANANA FIBRE
Banana fibre is gaining popularity as an eco-friendly textile. It’s lightweight and silky when made from the inner part of the fibrous peel, or more paper-like and rougher when made from the exterior of the peel. Additionally, the tree itself can be harvested to make items like rope.

Banana fabric was used as a silk substitute and would be woven into garments for the wealthy.

This fabric is less durable than other natural fibres, but is stronger than most when it comes to stretching and pulling.

Descriptive Terms: Strong, Textured, Lightweight, Lustrous, Smooth, Silky, Soft, Paper-like (in some applications), Cool, Shimmery, Drapable, Comfortable, Luxurious, Natural, Subtle sheen, Fine

Uses: Textiles, Handbags, Rugs, Mats, Hats, Shawls, Tablecloths, Wall hangings, Upholstery, Paper

Features: Biodegradable, Sustainable, Natural Fibre, Breathable, Hypoallergenic, Eco-friendly, Renewable, Plant-based, Vegan, Durable, Eco-friendly, Moisture wicking

Cost: ★★☆☆☆

Descriptions of this fabric in historical documents could date it back as far as medieval times.

BATISTE (Cambric)
A sheer and feather-light material frequently crafted from natural fibres like cotton. Due to its loose weave, it has good breathability. Some descriptive terms may vary from others due to different processes and qualities.

Descriptive Terms: Fine, Semi-sheer, Lightweight, Soft, Smooth, Delicate, Airy, Transparent, Gauzy, Silky (when high quality, Airy, Crisp, Cool, Drapey, Translucent, Elegant, Thin, Subtle texture, Matte, Finely woven, Ethereal, Classic, Crinkly (sound – may soften with time and wear)

Uses: Blouses, Dresses, Lingerie, Curtains, Handkerchiefs, Baby clothes, Robes, Scarves, Veils, Drapery

Features: Breathable, Lightweight, Semi-transparent, Cotton-based, High tensile strength and durability, Plain Weave

Photo by Chait Goli on Pexels.com

Cost: ★★★★☆

Though I couldn’t find a good reference for the first use of bison wool as clothing, I’m sure it’s safe to say it’s in the thousands of years, being utilized by Indigenous peoples anywhere bison roamed.

BISON FIBRE/WOOL
Bison wool is known for its strength and durability, making it a good choice for outerwear and even upholstery. Bison fabric offers excellent warmth, making it most suitable for garments designed to withstand harsh weather conditions.

Bison fibre is derived from the downy undercoat of the American bison. The undercoat is the soft, insulating layer of fur closest to their skin. This fine undercoat helps bison withstand harsh winters in their natural habitat. It’s often compared to cashmere and other luxury fibres because of its luxurious feel and insulation properties.

The fibre is harvested by combing or brushing the bison during their natural shedding season in the spring. After collection, the fibre is processed and spun into yarn, which can then be woven or knitted into fabrics.

The demand for bison fibre/fabric remains niche due to the limited availability of the raw material.

Descriptive Terms: Soft, Warm, Luxurious, Thick, Natural, Textured, Strong, Plush, Cozy, Luxurious, Fine, Comforting, Rustic, Earthy, Rich, Warm-toned, Robust, Unique, Thick

Uses: Knitwear, Sweaters, Socks, Scarves, Hats, Blankets, Coats, Gloves, Upholstery, Rugs

Features: Durable, Hypoallergenic, Sustainable, Natural Fibre, Breathable, Biodegradable, Insulating

Cost: ★★★☆☆

Originated in Europe in the 19th century, though more commonly used for clothing after the 1950s

BOUCLÉ (boo-clay)
Bouclé’s distinctive textured appearance, achieved through looped yarns creating a bumpy surface, makes it easy to identify. Often crafted from wool, bouclé is used in knitting projects and is often used in outerwear as its bulkiness provides excellent warmth.

Bouclé will attract pets who want to need and scratch at it!

This fabric was originally made from wool, but now it can be made from other fabrics as well.

Descriptive Terms: Textured, Loopy, Nubby, Soft, Chunky, Wooly, Curly, Flecked, Warm, Cozy, Bulky, Inviting, Warm, Malleable, Heavy, Looped yarn, Fluffy, Loose weave, Plush, Comforting, Huggable, Multidimensional, Unique, Woolen

Uses: Coats, Jackets, Sweaters, Scarves, Blankets, Skirts, Dresses, Upholstery, Throws, Pillows

Features: Textured, Multidimensional, Durable, Flexible, Strong

Cost: ★★★★☆

First used between 475 and 221 BCE in China

BROCADE
Brocade’s has intricate and ornate woven patterns, often embellished with metallic threads. It’s a heavier fabric commonly crafted from silk, making it exceptionally soft. Thought to be luxurious and elegant, it’s often used in higher end clothing, upholstery, formal wear, and tapestries.

The weaving technique used in brocade involves creating intricate patterns by weaving in colourful threads, often with metallic elements like gold or silver, into the fabric. This process results in raised designs that give brocade its distinctive appearance.

Initially, brocade was exclusively produced for the nobility and the wealthy elite due to its labor-intensive production. As trade routes expanded, brocade spread to the Middle East and Europe, gaining popularity among aristocrats and royalty.

During the Renaissance period, brocade saw a surge in demand, particularly in Italy and France, where it became a symbol of status and opulence.

Descriptive Terms: Rich, Ornate, Embossed, Textured, Lustrous, Elaborate, Opulent, Jacquard-woven, Metallic, Intricate, Lustrous, Luxurious, Shiny, Elegant, Formal, Rich, Smooth, Stiff, Heavy, Intricate, Patterned, Embroidered, Decorative, Regal, Shiny, Traditional

Uses: Evening Gowns, Jackets, Curtains, Upholstery, Vests, Tablecloths, Costumes, Bags, Wall Hangings, Robes

Cost: ★★★☆☆

Originated in Eastern Europe in the 16th century but is more known for its popularity in England in the 19th century.

BRODERIE ANGLAISE
Broderie Anglaise (English Embroidery), or eyelet fabric, is a delicate and intricate cotton material with decorative cut-out patterns and embroidery. A common choice for summer wear and dressmaking, as well as creating embellishments and accents.

Broderie Anglaise involves creating decorative patterns on fabric by cutting small holes (eyelets) in the material and then stitching around the edges of these holes (overcast or buttonhole stitching) with various embroidery stitches.

The technique became popular during the Victorian era, particularly for women’s clothing and undergarments. It was admired for its romantic and feminine appearance.

Broderie Anglaise’s popularity spread beyond England, and it became prominent in European fashion during the 19th and early 20th centuries.

Descriptive Terms: Delicate, Embroidered, Eyelet, Intricate, Charming, Feminine, Airy, Romantic, Scalloped, Light, Dainty, Vintage, Elegant, Lightweight, Airy, Soft, Textured, Fine, Dainty, Lacy, Charming, Graceful, Floral, Detailed

Uses: Dresses, Blouses, Skirts, Tops, Children’s Clothing, Lingerie, Curtains, Tablecloths, Handkerchiefs, Bedding

Features: Embroidered Patterns, Eyelet Designs, Openwork, Cotton Fabric, Breathable

Photo by Frans van Heerden on Pexels.com

Cost: ★★★★☆

Use of this type of fabric is ancient, with mentions in the bible. It became more common in the West in the 17th century.

CAMEL HAIR/WOOL
Camel hair fabric is derived from the soft undercoat of camels. The fabric has a reputation for exquisite texture and warmth. Known for its insulating properties, it’s a good choice for various cold-weather garments and accessories, mainly used for overcoats, blankets, and rugs.

The fibres are primarily gathered from two main species of camels: the dromedary camel (one-humped camel) and the Bactrian camel (two-humped camel). Camels have adapted to survive in harsh desert climates, and their hair serves as excellent protection against extreme temperature fluctuations, providing both insulation in frigid conditions and breathability in hot weather.

The hair of camels is collected during their natural molting season, which usually occurs in the spring. This shedding process allows for the humane and sustainable collection of the hair without harming the animals. Historically, breeders of these camels were nomadic, and they would be accompanied by someone called a “trailer” who would pick up the fur as it dropped. Nowadays, if a camel is not molting at the same time as the others, they may sheer the camel, avoiding the top of the hump.

Camel fibre is characterized by its softness, warmth, and lightweight feel. It is often blended with other fibres, such as wool or cashmere, to create high-quality fabrics.

The production of camel fibre fabric is limited compared to other luxury fibres, which contributes to its higher price.

This wool can be carefully washed in cold water only with wool-friendly detergent. It tends to shrink if not cared for properly.

Descriptive Terms: Soft, Warm, Luxurious, Textured, Earthy, Reddish tan, Plush, Cozy, Fine, Comfortable, natural, Neutral-toned, Rich, Warm-coloured, Velvety, Sophisticated, Subtle sheen

Uses: Coats, Jackets, Sweaters, Scarves, Blankets, Hats, Socks, Rugs, Upholstery, Mittens

Features: Insulating, Durable, Natural Fibre, Animal Hair, Hypoallergenic, Sustainable, Breathable, Earth-tone, Natural

Cost: ★☆☆☆☆

There are many competing ideas about when canvas first started being used. Some say 14th, 15th, or 16th centuries. It was periodically used – maybe even rarely – in Italy in the 14th century.

Looser definitions of canvas can be tracked back to Ancient Egypt.

CANVAS
Canvas is a sturdy, versatile plain-woven fabric known to be durability and resilient. Typically made from cotton, linen, or a blend of both, canvas has a thick, tightly woven structure that makes it versatile. However, historically, canvas was made from hemp or linen.

Canvas has origins dating to ancient Egypt. It gained prominence during the Renaissance and was widely used by artists as a painting surface. Over time, canvas evolved beyond the art world and found its way into other industries.

This fabric has a coarse texture, which contributes to its strength. Canvas is often unbleached or dyed in neutral colors, giving it a rustic and utilitarian appearance.

Canvas serves an array of functional and artistic purposes and is used extensively for:

Art and Painting: Canvas is a popular choice for artists who use oil and acrylic paints. It’s prepared by bleaching then adding at least one layer of gesso to the canvas. This provides a more even painting surface that allows the paint to adhere to the surface rather than soak through.

It was popularized for painting by Venetian Renaissance artists to replace wood panel painting. Wood has a tendency to warp, crack, and rot when exposed to moisture, even that in the air. Paint also tends to flake more easily off wood.

Outdoor Gear and Accessories: Canvas is a staple in manufacturing outdoor gear such as backpacks, tents, and tarps due to its ability to withstand harsh weather conditions. It has been used for tents for centuries. Typically, the canvas is treated to repel water, enhancing its already resistant surface.

Footwear: As canvas is sturdy and comfortable, it is used in the production of casual shoes, particularly sneakers and espadrilles.

Bags and Luggage: Canvas bags and luggage items are favored for their durability and low cost.

Home Furnishings: Canvas is used frequently for upholstery, couch cushions, and curtains.

Apparel: While canvas is not as lightweight or malleable as other fabrics, it can still be found in heavier garments like jackets and workwear. It is good for protective gear as it is so durable.

Industrial Applications: Due to its strength, canvas is used in industrial settings for purposes like conveyor belts, and even in construction for tarpaulins and protective coverings.

Sails: This material was historically used for sails. In fact, that was its primary industry for a time.

Canvas comes in various weights, with heavier canvas being more durable and suitable for heavy-duty tasks. The weave can vary as well, affecting the texture and appearance of the fabric.

Descriptive Terms: Sturdy, Textured, Rustic, Utilitarian, Coarse, Reliable, Timeless, Thick, Heavy duty, Twill weave, Tightly woven, Rough, Firm, Weighty, Rugged, Tough, Matte, Utilitarian, Robust, Practical, Functional, Sturdy, Warm

Uses: See above

Features: Plain Weave, Strong Fibers, Moisture-wicking, Water resistant, Durable, Resilient

Photo by Sippakorn Yamkasikorn on Pexels.com

Cost: ★★★★★

Cashmere has been produced for thousands of years, with historical evidence of its use dating back to ancient civilizations in Central Asia and the Middle East.

Considering that breeding of cashmere goats predates recorded history, it is likely even earlier than that.

CASHMERE (Pashmina Wool)
Cashmere is renowned for being luxurious and feather-light. It is not as warm as regular sheep wool but is softer without being scratchy. Winter wear, such as sweaters and scarves, are common uses of this fabric, but it comes with a high price tag!

Cashmere is a highly prized type of wool known for its exceptional softness and warmth. The name “cashmere” is derived from the region of Kashmir, which is located in the Himalayan mountains between India, Pakistan, and China.

The wool comes from the undercoat of cashmere goats, particularly the Changthangi or Pashmina goats found in the Himalayan region. During the spring molting season, the goats naturally shed their soft, fine undercoat, which is generally collected through combing or shearing.

Due to its rarity and exquisite quality, this material was initially reserved for royalty and aristocracy. In the 18th and 19th centuries, the cashmere industry saw significant growth as trade routes expanded, and European fashion embraced its use. Scotland and other European countries became prominent producers of cashmere garments and accessories, though nowadays most of the world’s production of cashmere comes from China.

Wool can be carefully washed in cold water only with wool-friendly detergent. Wool tends to shrink if not cared for properly.

Descriptive Terms: Soft, Luxurious, Fine, Warm, Lightweight, Silky, Plush, Delicate, Cozy, Elegant, Fine-textured, Subtle-sheen, Timeless, Sophisticated, Lustrous, Regal

Uses: Sweaters, Scarves, Shawls, Coats, Hats, Gloves, Socks, Blankets, Dresses, Cardigans

Features: Insulating, Natural Fibre, Hypoallergenic, Breathable, High-quality, Sustainable, Animal Hair, Durable (when high quality), Does not shrink when washed properly and will retain its shape better than wool, Moisture wicking

ETHICAL DEBATE: Ethical concerns arise from the potential mistreatment of cashmere goats, such as inhumane shearing practises, as well as overgrazing, and associated environmental degradation.

Cost: ★★☆☆☆

Thought to date back to the 1300s, this fabric was originally called Cambric. The fabric and the name both evolved and are now generally thought to be two different fabrics.

CHAMBRAY (Cambric)
Chambray is typically crafted from lightweight cotton. Other materials it can be made from include linen or silk., though that is more historical. It has a denim-like appearance but is softer and smoother due to it being made with a different weaving pattern. Chambray is typically woven with coloured yarn in the warp and a white yarn in the weft, creating a subtle, heathered appearance visible inthe picture to teh left.

A variant of chambray is batiste.

Descriptive Terms: Lightweight, Smooth, Soft, Textured, Denim-like, Woven, Casual, Versatile, Comfortable, Classic, Fine, Dense, Crisp, Cool, Relaxed, Versatile, Easygoing, Simple, Spotted

Uses: Shirts, Dresses, Skirts, Blouses, Pants, Jumpsuits, Upholstery, Aprons, Children’s Clothing, Accessories, Workwear

Features: Breathable, Cotton-based, Durable, Moisture-wicking

Cost: ★★☆☆☆

Introduced in the 18th century France

CHENILLE
Chenille has a soft, plush texture with fuzzy piles. It’s made from a variety of fibres including rayon, silk, and wool, and is named after the French word for caterpillar!

Chenille is made from yarn that has a unique construction. It consists of short lengths of fabric (often cotton) woven between two core yarns. The pile of chenille yarn gives the fabric its distinctive fluffy appearance and a velvety touch.

Chenille was especially popular during the Victorian era.

Descriptive Terms: Soft, Plush, Velvety, Textured, Cozy, Luxurious, Fluffy, Thick, Fuzzy, Warm, Comfortable, Velvety, Comforting, Rich, Elegant, Opulent, Classic

Uses: Upholstery, Throws, Blankets, Pillows, Robes, Sweaters, Scarves, Rugs, Teddy bears, Hats

Features: Durable, Synthetic

Cost: ★★☆☆☆

Chiffon, as we know it, originated in France in the 19th century.

Chiffon-like garments have been made from silk for hundreds of years by indigenous people in Ethiopia, and by people in India.

CHIFFON
Chiffon is known for being sheer and lightweight, which makes it popular for anything that needs to flow gracefully. It’s made from silk, polyester, cotton, or nylon woven in a plain weave with highly twisted yarns. However, chiffon made from cotton tends to pill and is far less durable.

Originally, chiffon was made from silk and was very expensive. The first chiffons made from other fibres started appearing in the late 1930s.

Although considered somewhat durable, it can fray fairly easily if not handled or sewn properly.

Descriptive Terms: Sheer, Lightweight, Delicate, Flowing, Translucent, Airy, Elegant, Drapable, Soft, Diaphanous, Rough, Opaque, Lustrous (when made from lustrous fibres, Silky, Gossamer, Shimmery, Subtle texture, Luxurious

Types: Chameleon, Pearl, Silk Satin, Silk Crepe, Jacquard

Uses: Dresses, Blouses, Scarves, Veils, Lingerie, Evening Gowns, Curtains, Skirts, Tops, Sashes

Features: Breathable, Synthetic

Cost: ★★☆☆☆

The first uses of coir go back to the 11th century, but more for other uses than fabrics. Use as fabric or similar started in India over a hundred years ago.

COIR (Coy-er)
Coir is made from coconut husks. Its durability makes it an excellent choice for rugs and mats for outdoors, ropes, brushes. Nowadays, coir is being mixed with polyester to create wearable fabric, predominantly in sportswear.

Descriptive Terms: Stiff, Coarse, Textured, Fibrous, Brown, Strong, Rigid, Fibrous, Rugged, Firm, Natural, Rough, Tough, Abrasive, Woven, Neutral, Rustic, Earthy, Unrefined, Utilitarian

Uses: Doormats, Rugs, Carpets, Upholstery, Brushes, Erosion control products, Planters, Insulation, Geotextiles, Flooring, Twine, Mattresses, Upholstery Padding, Rope

Features: Natural Fibre, Biodegradable, Eco-friendly, Sustainable, Moisture-resistant, Abrasion-resistant, Plant-based, Environmentally friendly, Versatile, Durable, Rot resistant

Cost: ★★☆☆☆

Created in 1986 by DuPont

COOLMAX
Coolmax fabrics are renowned for their moisture-wicking properties, effectively pulling moisture away from the skin and promoting quick evaporation. These fabrics are designed to keep the wearer cool, dry, and comfortable during physical activities or in hot environments.

Coolmax is trademarked by Invista, which was once a subsidiary of DuPont.

Types: Coolmax Air, Coolmax Ecomade, Coolmax Extreme, Coolmax FreshFX, Coolmax All Season

Descriptive Terms: Lightweight, Smooth, Comfortable, Athletic, Cool, Soft, Modern, Sleek, Functional, Sporty, Contemporary

Uses: Athletic wear, Sports clothing, Activewear, Performance apparel, Outdoor gear, Base layers, Socks, Underwear, T-shirts, Headbands, Bedsheets, Facemasks, Bras, Cycling Pads, Saddle Pads, Bag liners

Features: Moisture-wicking, Quick-drying, Breathable, High-performance, Synthetic, Thermoregulating, Cooling, Odor-resistant, Sweat-wicking, Technical fabric, Cooling, Durable, Plain weave (but can also be knit or twill weave)

Cost: ★★★★☆

The yarn that Cordura is made from was created in the 1930s, however it started to be used regularly in 1967

CORDURA
Cordura is highly regarded for its durability and resistance to abrasions. It’s highly versatile and used in a wide range of high-performance products. Because of this, it’s commonly found in outdoor gear, such as backpacks, tents, and luggage, as well as military and law enforcement equipment (military grade versions). It can also be added to fabrics such as denim, Riptstop, or canvas to increase their durability.

Corurda is a registered trademark name and created by DuPont.

Descriptive Terms: Tough, Sturdy, Strong, Rugged, Heavy-duty, Textured, Resilient, Reliable, Resilient, Utilitarian, Functional

Uses: Outdoor gear, Backpacks, Military equipment, Luggage, Upholstery, Motorcycle apparel, Workwear, Tactical gear, Footwear, Sportswear

Features: Durable, Abrasion-resistant, Water-resistant, Tear-resistant, High-performance, Synthetic, Heavy-duty, Long-lasting, Tough, Scratch Resistant

Cost: ★★☆☆☆

CORK FABRIC
Cork fabric is a sustainable, generally environmentally friendly material made from the bark of cork oak trees. Only the outer bark is removed, allowing the tree to regenerate. Typically, the tree is only harvested this way once every 9-12 years.

Descriptive Terms: Natural, Textured, Soft, Lightweight, Distinct, Wooden, Soft, Smooth, Leathery, Rustic

Uses: Handbags, Wallets, Accessories, Hats, Shoes, Upholstery, Home decor, Table mats, Bulletin boards, Crafts

Features: Sustainable, Natural Fibre, Water-resistant, Eco-friendly, Vegan, Renewable, Biodegradable, Hypoallergenic, Versatile, Durable, Long-lasting, Compostable

Cost: ★★☆☆☆

First used in 5000 BCE, Pakistan (according to new archaeological discoveries).

Previously believed to be 3000 BCE

COTTON
Everyone knows cotton! It is a natural fibre that is smooth, soft, breathable, and highly absorbent. This fibre is mixed into a LOT of other materials to enhance them with these qualities.

Cotton is obtained from the seedpods of the cotton plant. The cotton plant’s fluffy fibres surround the seeds in the cotton bolls, and these fibres are carefully harvested and processed to create cotton yarn. It is one of the most widely used and important fibres in the textile industry.

While used for an array of different purposes, the quality of cotton sheets and clothing can be mostly gauged by thread count, where a higher count indicates increased softness and durability. It’s important to note, however, that while a higher thread count often suggests better quality, other factors like cotton quality, weave, and finishing also impact the feel and durability of the fabric.
Learn about the main types of cotton: Types of Cotton

Here is a breakdown of popular thread counts and what they look and feel like.

200-300 Thread Count:

  • Look: Crisp and breathable, suitable for warm weather.
  • Feel: Light and airy, with a slight texture. Offers good durability and comfort.

300-500 Thread Count:

  • Look: Smooth with a subtle sheen, provides a balance between breathability and luxury.
  • Feel: Soft and comfortable, a good combination of durability and comfort.

500-800 Thread Count:

  • Look: Luxurious and smooth with a noticeable sheen.
  • Feel: Silky and exceptionally comfortable.

800+ Thread Count:

  • Look: Ultra-luxurious, extremely smooth, and lustrous.
  • Feel: Incredibly soft and silky

Descriptive Terms: Soft, Breathable, Lightweight, Versatile, Natural, Comfortable, Smooth, Textured, See above for more based on thread count

Uses: T-shirts, Jeans, Dresses, Bedding, Towels, Shirts, Underwear, Socks, Curtains, Quilts, and MUCH more

Features: Breathable, Absorbent, Biodegradable, Hypoallergenic, Natural Fibre, Versatile, Sustainable, Durable, Plant-based

ENVIRONMENTAL CONCERNS: Conventional cotton cultivation requires extensive water usage, synthetic pesticides, and fertilizers. It can lead to soil degradation, water pollution, and depletion of natural resources. Organic cotton is a more sustainable alternative.

COTTON’S HISTORY (YIKES!): Cotton has a famous history associated with slavery. Efforts have been made to address these issues through certifications, fair trade initiatives, and sustainable sourcing practices to ensure better working conditions, fair wages, and transparency in the cotton supply chain. Consumers can look for certifications like Fairtrade, Organic, or Better Cotton Initiative (BCI) when purchasing cotton products to support ethical and sustainable cotton production.

Source: African-American history of agriculture in the United States

Cost: ★★☆☆☆

First used around 200 CE, Egypt. This was called fustian. Modern corduroy dates to 18th century England.

CORDUROY
Corduroy is known for its ribbed texture with parallel ridges known as “wales”. It’s commonly used in casual wear, like pants, jackets, and skirts. However, the fabric’s sturdiness also makes it great for upholstery.

Corduroy is woven from cotton, though it can also be made from other fibres like polyester or a blend of materials. The wales can vary in thickness, with wider wales known as “wide-wale corduroy” and narrower wales as “pinwale corduroy.” Additionally, Corduroy can have a velvety or brushed finish.

Due to its fluffiness, corduroy tends to pick up animal hair and other fluff easily.

Corduroy tends to go in and out of fashion and had significant popularity in the 1970s.

Descriptive Terms: Ribbed, Textured, Soft, Thick, Warm, Cozy, Velvet-like, Plush, Tough

Noise It Makes: Swishing, Rustling, Whispering

Uses: Pants, Jackets, Skirts, Upholstery, Overalls, Shirts, Dresses, Home decor, Coats

Features: Durable, Versatile, Cotton-based, Velvet-like

Cost: ★★★☆☆

Invented in 1890

CUPRO (cuprammonium rayon)
Cupro is silky and lightweight and is akin to natural fibres like silk and cotton. Derived from regenerated (recycled)cellulose fibres typically sourced from cotton linter, cupro drapes beautifully and feel luxurious.

While made from recycled fibres, the rayon version of this material involves using substantial amounts of chemicals.

Descriptive Terms: Silky, Smooth, Lightweight, Luxurious, Drapey, Lustrous, Soft, Elegant, Flowing, Fine, semi-sheer

Uses: Dresses, Blouses, Skirts, Lingerie, Scarves, Tops, Linings, Suits, Robes, Jumpsuits

Features: Biodegradable, Eco-friendly, Sustainable, Vegan, Regenerated Fibre, Moisture-wicking, Hypoallergenic, Prone to pilling, Recycled, Elastic, Easily ignites

Cost: ★★★☆☆

First use in 300 BCE, China. However, the name is from later, named after the Syrian city of Damascus.

DAMASK
Defined by its intricate woven patterns adorned with floral, geometric, or damask motifs (see Describe it: Patterns), Damask fabric is elegant and luxurious. The fabric’s distinctive patterns are created through a weaving technique that uses contrasting textures, typically a shiny pattern on a matte background or reversed.

In its country of origin, China, Damask was handmade and extremely expensive. As such, it was reserved for the richest people. It was exceptionally popular on the silk road trade routes.

Damask quickly became popular in Europe during the medieval period and Renaissance. It was highly prized for its luxurious appearance and was used for clothing, furnishings, and decorative purposes. Over time, the weaving technique spread to other regions, and the designs evolved to include a wide variety of patterns and colours.

It became more popular after the invention of the Jacquard loom in 1745.

Descriptive Terms: Intricate, Woven, Elegant, Lustrous, Textured, Patterned, Luxurious, Rich, Classic, Opulent, Formal, Timeless, Regal, Thick

Uses: Tablecloths, Upholstery, Curtains, Bedding, Napkins, Dresses, Jackets, Home decor, Formalwear

Features: Durable, Jacquard-woven

Cost: ★★☆☆☆

17th century, France.

DENIM
Denim is mostly known for its use in jeans, although depending on fashion trends, it extends to vests, shirts, jackets, and other clothing items.

Traditionally made from cotton fibres, modern variations include blends with other materials such as polyester or elastane for added stretch.

Originally used for durable workwear, denim gained widespread popularity during the late 19th century and became a symbol of casual and comfortable clothing. It can not withstand significant abrasion, such as what might happen during a motorcycle accident.

Descriptive Terms: Sturdy, Textured, Classic, Rugged, Casual, Versatile, Timeless, Hard-wearing

Uses: Jeans, Jackets, Skirts, Overalls, Shirts, Bags, Upholstery, Aprons, Shorts, Dresses

Features: Cotton-based, Twill weave, Fade-resistant, Strong, Breathable, All-season, Durable, Diagonal weave

Cost: ★★★★★

Invented in 1963, but not commercially available until 1990.

DYNEEMA
A high-performance synthetic fabric, Dyneema has an exceptional strength-to-weight ratioand is considered one of the strongest fibres globally – even being described as stronger than steel (by weight ratio). It has remarkable durability and is cut-resistant, making it excellent for outdoor gear, gloves, and protective equipment. It can also be used for ropes and similar items that require minimal water absorption, high tensile strength, abrasion resistance.

Dyneema is a brand name as well as the name of the product. It is listed on their website as “composite unidirectional laminate that offers excellent energy absorption and enhanced protection, all in a lightweight solution. Available as both hard and soft ballistic material.”

It was first used for sails.

This material is often mixed with other fibres, such as polyester.

Descriptive Terms: Lightweight, Flexible, Smooth, Slippery, Plasticky, Pliable, Strong

Uses: Outdoor gear, Protective clothing, Sports equipment, Backpacks, Bulletproof vests, Gloves, Sailcloth, Ropes, Tents, Fishing lines

Features: High-tensile strength, Low elongation, Minimal stretch, Synthetic fiber, Impact-resistant, Water-resistant, All-weather, Ultra-strong, High-performance, Abrasion-resistant, Durable, Cut-resistant, Synthetic, Advanced, Resilient, Resistant to corrosive materials

Cost: ★★☆☆☆

17th century, Wales

FLANNEL
Flannel is soft and cozy which are properties achieved through a process of brushing the fibres to create a fuzzy texture. It’s commonly made from cotton or a blend of fibres.

Flannel is often associated with plaid patterns and is frequently used in the production of shirts, providing a cozy and casual look. It is also a popular choice for bedding, offering warmth during colder seasons. My teenager calls anything with a plaid pattern flannel, as do their friends (I’m writing this in 2023, so take that into consideration).

During World War 1, flannel gained additional popularity and was used by the US to provide an extra layer of warmth in soldiers’ uniforms.

By the 1990s, a fashion trend called Grunge adopted this fabric with its plaid print.

Descriptive Terms: Soft, Warm, Cozy, Brushed, Textured, Plaid, Fluffy, Comfortable, Napped, Lightweight, Cozy, Fuzzy, Brushed

Uses: Shirts, Pajamas, Blankets, Sheets, Jackets, Baby clothes, Scarves, Lounge wear, Quilts, Robes, Cold weather clothing, Outdoor apparel

Features: Insulating, Breathable, Cotton-based, Durable, Versatile

Cost: ★★☆☆☆

1979, USA

FLEECE
Fleece is soft, warm, and generally lightweight. It’s widely utilized in outdoor gear like jackets and hats as it has a napped surface with tiny, raised fibres that trap heat.

Fleece is made from polyester, a synthetic fibre, though it can also be made from other materials like recycled plastic bottles (PET fleece).

The name “fleece” comes from the term used to describe the woolly coat of sheep and is named that way for its soft and fluffy texture. There are different variations such as microfleece (with a finer texture) and polar fleece (with a more substantial and plusher feel).

Fleece is often preserved with formaldehyde, which some people can react to.

Descriptive Terms: Cozy, Soft, Warm, Plush, Lightweight, Fluffy, Insulating, Comfortable, Versatile, Fuzzy, Brushed

Uses: Jackets, Sweatshirts, Blankets, Hats, Scarves, Mittens, Socks, Throws, Pet beds, Pullovers

Features: Synthetic, Insulating, Quick-drying, Moisture-wicking, Durable, Breathable, Easy-care

Cost: ★★★☆☆

15th century, England

GABARDINE
Gabardine is known for its durability and smooth, tightly woven structure. It has a distinct twill weave that gives it a diagonal ribbed texture. Gabardine is a versatile fabric commonly used in the production of clothing items such as suits, trousers, skirts, and outerwear.

Descriptive Terms: Smooth, Twill weave, Textured, Drapable, Classic, Comfortable

Uses: Trousers, Skirts, Suits, Jackets, Coats, Dresses, Uniforms, Raincoats, Trench coats, Workwear

Features: Twill Weave, Durable, Water-resistant, Breathable, Wrinkle-resistant, Cotton-based

Cost: ★★☆☆☆

16th century, Palestine

GAUZE
Gauze is a delicate and lightweight fabric characterized by its open weave. This material has been utilized for centuries across cultures and industries.

The origins of gauze can be traced back to ancient civilizations where it was woven from fibers like cotton, silk, or wool. Gauze’s open weave gives it a semi-transparent appearance that allows light to pass through. This unique construction gives it a soft, airy, and breathable feel.

Gauze fabric is used for numerous purposes, including:

  1. Medical and Healthcare: Gauze is widely used in medical settings, particularly for bandages, dressings, and swabs.
  2. Fashion and Apparel: Gauze is used in creating lightweight and flowing garments, such as dresses, blouses, scarves, and skirts.
  3. Home Textiles: Gauze is used to make curtains, draperies, and window coverings, allowing diffused light to filter through.

Descriptive Terms: Delicate, Sheer, Lightweight, Airy, Ethereal, Soft, Flowing, Gentle, Graceful, Semi-Transparent, Wrinkly, Matte

Uses: Apparel, Baby Clothing, Swaddling Blankets, Medical Dressings, Home Textiles, Crafts, Accessories, See above for more

Features: Open Weave, Soft Fibers (Cotton/Silk), Breathable, Absorbent,

Cost: ★★☆☆☆

First use can be tracked to 1915, from French dressmaker Madame Georgette de la Plante.

GEORGETTE
Georgette is known for being light and airy, giving a graceful, flowing drape. It has a slightly crinkled or textured surface and a delicate appearance that, by itself, can be a bit sheer from being so thin.

Georgette fabric was originally made from silk but has a matte finish.

Types: Double georgette, Polyester Georgette, Stretch Georgette, Satin Georgette, Jacquard Georgette

Descriptive Terms: Sheer, Lightweight, Crinkled, Flowing, Delicate, Drapey, Soft, Textured, Airy, Elegant, Crepe-like, Elegant

Uses: Dresses, Blouses, Scarves, Sarees, Skirts, Lingerie, Veils, Evening gowns, Hijabs, Tunic tops

Features: Breathable, Synthetic

Cost: ★★☆☆☆

Origins of this fabric go back to the 17th century, but location is unclear. Either Malaysia or France.

GINGHAM (Vichy Check)
Gingham fabric is characterized by its distinct checkered pattern (called gingham), typically consisting of even-sized, evenly spaced squares. Gingham is often associated with casual and summery clothing items, such as shirts, blouses, and dresses. It’s also popular for picnic blankets and tablecloths. Classically, it was associated with Italian restaurants.

This fabric was originally produced from cotton or muslin.

Descriptive Terms: Checkered, Crisp, Classic, Textured, Woven, Lightweight, Timeless, Country, Plaid, Soft, Causal, Traditional

Uses: Dresses, Blouses, Shirts, Skirts, Tablecloths, Napkins, Curtains, Aprons, Baby clothes, Kitchen accessories

Features: Cotton-based, Breathable, Durable,

Cost: ★★★★☆

Invented in the 1970s

GORE-TEX
Gore-Tex is a high-performance fabric known for being waterproof yet breathable. It’s designed to keep the wearer dry and comfortable in various weather conditions. Gore-Tex fabric is constructed with a microporous membrane that allows moisture vapor to escape while preventing water from penetrating.

Gore-tex is both the name of the fabric and a brand name (GORE-TEX).

Descriptive Terms: Slick, Thin, Lightweight, Cool to the Touch, Sporty

Uses: Outdoor clothing, Rainwear, Jackets, Pants, Footwear, Tents, Gloves, Backpacks, Sportswear, Skiwear, (It was also the fabric used for space suits for the Space Shuttle Columbia)

Features: Waterproof, Breathable, Windproof, Moisture-wicking, Weather-resistant, All-weather, Performance, Synthetic, High-performance, Durable, Weatherproof, Versatile

Cost: ★★☆☆☆

First use of hemp fibre is from Northern China, 10,000 BCE. However, the first known use of it for clothing goes back only 6,000 years.

HEMP
Hemp fabric is derived from the fibres of the stalks of hemp plants (Cannabis Sativa), making it sustainable and eco-friendly. It’s known for its strength, durability, and breathability.

Hemp is 8x stronger than linen due to the longer length of the flax fibres. It’s also longer lasting and more elastic and has higher resistance to sunlight exposure.

This material should not be ironed on anything but a low temperature and should not go in a dryer. Washings cause the hemp fabric to soften over time, but not to degrade.

Descriptive Terms: Textured, Strong, Natural, Coarse, Earthy, Comfortable, Lightweight

Uses: Clothing, Bags, Accessories, Home decor, Upholstery, Bedding, Towels, Ropes, Paper, Canvas

Features: Natural Fibre, Biodegradable, Eco-friendly, Renewable, Antibacterial, UV-resistant, Hypoallergenic, Moisture-wicking, Plant-based, Breathable, Durable, Wrinkles easily, Mold and Mildew resistant

Cost: ★★★☆☆

Though the herringbone pattern has been around since ancient Egypt, the use of this pattern in clothing only goes back to 800-500 BCE

HERRINGBONE (broken twill weave)
Herringbone fabric is characterized by its distinctive zigzag pattern from its weave(called herringbone), created through a weaving technique that forms a series of V-shaped lines. Herringbone can usually be found in outerwear such as coats and jackets, as well as suits, giving for a sophisticated and classic look.

Herringbone is less a fabric and more defined by its type of weave, as stated before, called herringbone. The name comes from its resemblance to the skeletal structure of the Herring (fish).

Descriptive Terms: Distinctive, Zigzag, Textured, Classic, Woven, Elegant, Timeless, Geometric, Structured, Thick, Heavier, Dressy

Uses: Jackets, Coats, Skirts, Trousers, Scarves, Blankets, Upholstery, Throw pillows, Ties, Home decor

Features: Durable, Warm, Cool Weather Appropriate

Cost: ★★★☆☆

The jacquard loom was created in 1801

JACQUARD
Jacquard fabric is known for its intricate and elaborate patterns woven into the fabric itself rather than printed or embroidered. You’ll notice this fabric looks a lot like brocade or damask. Jacquard is a fabric made on the Jacquard loom, and modern brocade, damask and tapestries are all created on this loom. Thus, these fabrics are jacquards. The jaquard loom allowed prices for these other fabrics to become more affordable and widespread.

Descriptive Terms: Intricate, Patterned, Textured, Luxurious, Woven, Elegant, Rich, Embossed, Elaborate, Detailed, Thick, Regal, Timeless, High-quality

Uses: Dresses, Upholstery, Curtains, Bedding, Tablecloths, Tapestries, Jackets, Home decor, Formalwear

Features: Durable (features depend on the type of fabric used to create it)

Cost: ★★☆☆☆

Medieval England

JERSEY
Jersey fabric is a type of knit fabric known for its stretchiness, softness, and comfortable feel. It’s typically made from cotton or a blend of cotton and synthetic fibres, though it was originally made from wool.

The original uses for Jersey were for men’s underwear and sweaters.

Descriptive Terms: Stretchy, Soft, Comfortable, Knit, Lightweight, Drapey, Casual, Smooth, Elastic, Stretchy

Uses: T-shirts, Dresses, Leggings, Skirts, Activewear, Tops, Underwear, Sleepwear, Baby clothes, Scarves

Features: Breathable, Easy-care, Moisture-wicking, Wrinkle-resistant, All-season

Cost: ★★☆☆☆

In use for 5,000 years as a fabric, originating from India.

JUTE
Jute is a natural material derived from the fibres of the jute plant. It’s known for its coarse, textured appearance. Jute is highly sustainable and eco-friendly. Due to its roughness, it is not a great choice for clothing although it can be used for it. It is however used in ghillie suits, which are camouflage suits used by hunters and the military.

Jute is less popular in the western world, however, is far more popular in India and surrounding areas.

The image to the left is a little misleading, as Jute fabric can be woven to look much more refined than this.

Descriptive Terms: Natural, Coarse, Rough, Earthy, Textured, Rustic

Uses: Bags, Rugs, Mats, Upholstery, Wall hangings, Home decor, Tote bags, Planters, Craft projects, Sacks, Ghillie suits

Features: Natural Fibre, Eco-friendly, Renewable, Biodegradable, Strong, Breathable, Plant-based, Sustainable, Affordable, Moisture-wicking, Stain resistant, Abrasion resistant

Cost: ★★★★★

Created by DuPont in 1965 by Stephanie Kwolek.

KEVLAR
This is a highly renowned synthetic fabric known for its exceptional strength and durability. It’s composed of aramid fibres that resist cuts, abrasions, and impact. Kevlar is commonly used in the production of protective gear, such as bulletproof vests and helmets, due to its resistance to ballistics. It’s also utilized in various industries, including aerospace and automotive, where strength and resistance to high temperatures are essential.

Kevlar should not be compressed or exposed to direct sunlight, if avoidable.

Descriptive Terms: Lightweight, Stiff but can be softer depending on what it’s made for, Sturdy, Ribbed, Textured, Shiny

Uses: Bulletproof vests, Body armor, Helmets, Gloves, Reinforcements, Safety equipment, Motorcycle apparel, Aircraft components, Ropes

Features: High-tensile strength, Impact-resistant, Flame-resistant, Synthetic, Heat-resistant, Protective, Military-grade, High-strength, Cut-resistant, Durable, Tough, Ballistic, Protective, Abrasion-resistant, Cut resistant, Puncture Resistant

Cost: ★★★☆☆

A lace-like fabric was used in ancient Egypt, but lace as we know it today started showing up in the 15th century. This type of fabric has a hazy origin of Italy, France, Spain, Germany….

LACE
Lace is easily identified by its delicate nature and intricate patterns. The patterns are created through a process of looping, twisting, or braiding threads.

Lace fabric can be used as an overlay, trim, or even as the main material. While presently it’s known more for use in feminine applications, historically it was used in garments for both men and women. It didn’t lose its popularity for men’s fashion until the 1840s after women took to its appeal.

Lace, especially high quality lace, used to be extremely expensive. Modern fabrication processes have reduced the cost of this material significantly.

Originally, lace was made from silk or linen, even gold or silver thread. Nowadays, it’s more likely to be made from cotton or synthetic fibres such as polyester.

20 types of Lace fabric & trims for making clothes

Descriptive Terms: Delicate, Intricate, Sheer, Elegant, Feminine, Transparent, Romantic, Ornate, Lustrous, Dainty, Fine

Noise It Makes: Soft whispering, Delicate rustling

Uses: Dresses, Blouses, Lingerie, Veils, Wedding gowns, Curtains, Tablecloths, Trimmings, Accessories, Costumes

Features: Openwork Patterns, Embroidered

Cost: ★★★☆☆

First produced in ancient Egypt

LINEN
Linen is made from the fibres of the flax plant and is known for its breathability. It’s lightweight and offers excellent airflow, making it a popular choice for warm weather clothing. Linen has a distinctive textured appearance that gives it a casual appearance.

Linen is up to 30% stronger than cotton and is heavier as well but comes in limited colours. It will start stiff and crisp but will soften over time.

Linen requires much less water than cotton to produce, however it does best with hand washing and drying on low heat.

Descriptive Terms: Breathable, Natural, Lightweight, Textured, Crisp, Cool, Comfortable

Uses: Shirts, Dresses, Pants, Bedding, Towels, Tablecloths, Curtains, Upholstery, Napkins, Suits

Features: Natural Fibre, Biodegradable, Absorbent, Sustainable, Woven, Moisture-wicking, Classic, Antibacterial, Durable, Prone to wrinkling

Cost: ★★☆☆☆

First introduced by Du Pont in 1938, making its way more commonly used in the fashion industry in 1959.

LYCRA (Spandex)
Lycra was designed to replace silk. Commonly, it’s blended with other fabrics. It is a synthetic fibre known for its exceptional stretch and elasticity. Lycra provides excellent shape retention, allowing garments to stretch and recover their original shape.

Lycra is both the name of a fabric and a brand, LYCRA.

Note that Lycra is not necessarily ribbed like in the picture, but can be smooth, or otherwise textured.

Descriptive Terms: Stretchy, Elastic, Form-fitting, Flexible, Smooth, Second-skin, Supportive, Resilient, Compressive, Body-hugging, Lightweight, Comfortable

Uses: Athletic wear, Swimwear, Shapewear, Leggings, Dancewear, Cycling shorts, Activewear, Undergarments, Costume design, Medical compression garments, Hiking gear, Motion capture Suits

Features: Exceptional elasticity, Shape retention, Quick recovery, Moisture-wicking, Breathable, Enhances mobility, UV resistance

Cost: ★★☆☆☆

Mesh, more a weave / type of netting than a fabric, has been around for thousands of years.

MESH
Mesh is characterized by its open and porous structure, composed of evenly spaced holes or gaps. Mesh fabric is commonly used in sports and activewear, as it allows for optimal airflow and helps regulate body temperature during physical activities. It’s often found in the design of jerseys, athletic tops, and leggings, providing moisture-wicking properties and enhanced comfort. Additionally, mesh can be used as a decorative element or a layering fabric to add texture and visual interest to garments.

Mesh isn’t just used for sports and outdoor applications. It can also be found (in a smaller weave) in things like lingerie.

Descriptive Terms: Open, Breathable, Lightweight, See-through, Textured, Ventilated, Netted, Airy, Flexible, Durable, Sporty, Stretchy

Uses: Sports jerseys, Athletic wear, Bags, Hats, Shoes, Screen doors, Lingerie, Upholstery, Window coverings, Backpacks

Features: Ventilation, Airflow, Quick-drying, Stretchable, Easy-care

Cost: ★★☆☆☆

First popularized in Sweden in the early 1990s. Before that, it saw some use in the 1960s in Japan.

MICROFIBER
This synthetic fabric is made from ultra-fine polyester or polyamide fibres. It’s known for its softness, smoothness, and being lightweight. Microfibre has excellent moisture-wicking properties, making it great for cloths and activewear. It’s often used for cleaning due to its ability to attract and trap dust, dirt, and liquids. Also, it’s commonly utilized in upholstery despite this.

Descriptive Terms: Soft, Smooth, Lightweight, Fine, Velvety

Uses: Towels, Bedding, Cleaning cloths, Upholstery, Sportswear, Undergarments, Cleaning products, Robes, Swimwear, Apparels, Filtration, Mop heads

Features: Synthetic, Quick-drying, Wrinkle-resistant, Breathable, Easy-care, Versatile, High-performance, Durable, Stain-resistant, Lint-free, Absorbent

Cost: ★★★☆☆

First popularized in Sweden in the early 1990s. Before that, it saw some use in the 1960s in Japan.

MICROSUEDE
Microsuede is a type of microfiber designed to mimic the soft and velvety texture of natural suede. It has a luxurious texture and a similar appearance to traditional suede. Microsuede is highly durable and resistant to stains, making it a good choice for upholstery but is used in fashion a lot as well.

Descriptive Terms: Soft, Smooth, Suede-like, Velvety, Plush, Luxurious, Durable, Elegant, Supple, Lightweight

Uses: Upholstery, Furniture covers, Jackets, Handbags, Shoes, Pillows, Cushions, Drapery, Car interiors, Accessories

Features: Stain-resistant, Wrinkle-resistant, Easy-care, Breathable, Versatile, Durable

Cost: ★★☆☆☆

Developed in Japan, 1951

MODAL (HWM Rayon)
Modal is made from cellulose fibres derived from beech trees but is considered semi-synthetic due to the process used to make it into fabric. Modal is considered eco-friendly as the production process requires less water and energy compared to other textiles. It’s often blended with cotton and spandex.

Modal is a type of rayon and is very breathable, making it comfortable to wear in various climates and absorbent, wicking moisture away from the body.

Descriptive Terms: Soft, Smooth, Silky, Breathable, Lightweight, Drapey, Comfortable, Stretchy, Luxurious

Uses: T-shirts, Dresses, Underwear, Sleepwear, Scarves, Robes, Bedding, Towels, Activewear, Loungewear

Features: Natural Fibre, Sustainable, Biodegradable, Eco-friendly, Moisture-wicking, Resilient, Breathable, Absorbent, Durable, Does not pill, Holds colour well, Wrinkle resistant

Photo by Alexas Fotos on Pexels.com

Cost: ★★★★☆

Originating in Tibet, it was introduced to Turkey in the 16th century where it became more popularized.

MOHAIR
Mohair is derived from the hair of Angora goats and is known for its softness, fluffiness, and luxurious feel. It’s a lightweight material with excellent insulating properties. How fine it is depends on how old the goat was at the time of sheering. Younger goats produce fibres that are more likely to be used in clothing, while older goats produce fibres more commonly used in outwear, drapery, carpets, etc.

Mohair fibres have a distinct sheen, can be easily dyed, and is often mixed with other textiles such as alpaca or merino.

Descriptive Terms: Silky, Soft, Fluffy, Lustrous, Luxurious, Warm, Fuzzy, Lightweight, Shiny, Elegant, Strong

Uses: Sweaters, Scarves, Coats, Hats, Shawls, Blankets, Socks, Upholstery, Rugs, Throws

Features: Natural Fibre, Insulating, Hypoallergenic, Breathable, Durable, Moisture wicking, Wrinkle free

ETHICAL DEBATE: Ethical concerns can arise from the treatment of angora goats in the mohair industry, including issues related to animal welfare and sustainable grazing practices.

Cost: ★★★☆☆

Earliest records go back to medieval Europe, but there is not a lot of hard evidence as to where or when.

MOLESKIN
Moleskin is heavy fabric known for being soft and velvety, resembling the fur of a mole. It’s typically made from cotton or a blend of cotton and synthetic fibres. It is shorn on one side to create a short, soft pile, giving it much the same feel and appearance as suede. It provides warmth and insulation, making it suitable for colder climates.

Though some textiles can be made from actual mole skin, that is different than this product.

Moleskin can be used to treat or prevent blisters. This product has an adhesive backing to keep it on the skin.

Descriptive Terms: Soft, Smooth, Velvet-like, Plush, Thick, Warm, Supple, Textured, Luxurious, Comfortable, Heavy

Uses: Trousers, Jackets, Coats, Skirts, Upholstery, Bags, Hats, Gloves, Home decor, Slippers, Patches for treating blisters, 1960 West German Army uniforms

Features: Plush Pile, Breathable, Durable, Windproof (when tightly woven)

Cost: ★★☆☆☆

Records conflict if this fabric originated in Mosul (Iraq) in the 9th century or prehistorically in Bangladesh

MUSLIN
This fabric is lightweight (unless woven otherwise) and is a loosely woven cloth known for its breathability. It’s typically made from cotton fibres and features a plain weave, giving it a simple, open structure. Muslin is relatively soft and smooth, making it good for garments that require draping, such as dresses and blouses. It’s also commonly used in crafting, sewing, and quilting projects. Muslin fabric is often utilized for creating prototypes or test garments due to its affordability and ease of manipulation.

Aorund the world, this fabric has been given names like ‘woven air’ to describe its delicate, flowy nature.

Descriptive Terms: Sheer, Soft, Fine, Simple, Smooth, Comfortable, Plain, Delicate, Coarse (can be), Thin, Delicate, Feather light, Semi opaque,

Uses: Dresses, Blouses, Drapery, Quilts, Curtains, Baby clothes, Craft projects, Test garments, Linings, Bandages, Filters, Photography backgrounds Green screen / Blue screen

Features: Plain Weave, Cotton-based, Affordable, Easy to dye, Lightweight,

Cost: ★★★☆☆

Made in the 1930s by DuPont

NEOPRENE
This synthetic rubber material is commonly used in the production of wetsuits and other water sports apparel due to its insulating qualities, protecting the body from cold water. Neoprene is also utilized in athletic wear, such as leggings and jackets because of its stretchiness, durability, and moisture resistance. Additionally, neoprene is popular for accessories like laptop sleeves, bags, and footwear, providing cushioning and protection.

Descriptive Terms: Smooth, Pliable, Resilient, Smooth, Textured, Thick, Rubbery

Uses: Wetsuits, Swimwear, Surfing gear, Scuba diving suits, Sportswear, Laptop sleeves, Lunch bags, Knee braces, Shoes

Noise It Makes: Squeaking

Features: Synthetic Rubber, Water-resistant, Stretchy, Shock-absorbing, Weather-resistant, Buoyant, Protective, Quick-drying, Versatile, Flexible, Elastic, Durable, Insulating, Impermeable, Elastic, Anti-Static

Cost: ★★★★☆

Developed in 1967 by DuPont

NOMEX
Nomex is a synthetic aramid fibre known for being flame and heat resistant, as well as for its durability. It’s used in the production of protective gear for firefighters, military personnel, and industrial workers who are exposed to extreme heat and flames. Nomex is lightweight and comfortable to wear, while being resistant to wear and tear.

Descriptive Terms: Soft, Comfortable,

Uses: Firefighter gear, Racing suits, Protective clothing, Military apparel, Industrial workwear, Gloves, Insulation, Aircraft components, Electrical insulation

Features: Flame-retardant, Heat-resistant, Electrical insulation, High-performance, Self-extinguishing, Durable, Protective, Synthetic, Non-melting, Resilient, Strong, Lightweight

Cost: ★★☆☆☆

First introduced in 1938 by DuPont

NYLON
Nylon is a synthetic fabric known for its strength, durability, and versatility. It is lightweight and offers excellent abrasion resistance (when not very thin). Nylon is commonly used in the production of activewear, swimwear, and outdoor gear due to its quick-drying properties and ability to withstand wear and tear, among other uses.

Nylon is mixed with other textiles to limit the impact of its less favourable qualities, like runs (think nylon stockings). If you’ve never experienced these, you can put a finger through these stockings easily or small snags can cause the fabric to split, which travels up or down from the snag rapidly, rending the nylons useless. Clear nail polish is often used to stop the runs, if they could be stopped.

There are additional types of nylon including ripstop and ballistic, as well as nylon stockings, which go in and out of fashion.

Descriptive Terms: Strong, Durable, Lightweight, Smooth, Versatile, Synthetic, Resilient, Stretchable, Water-resistant, Shiny

Noise It Makes: Swishing, Swooshing

Uses: Outdoor gear, Sportswear, Activewear, Lingerie, Stockings, Swimwear, Backpacks, Tents, Umbrellas, Luggage

Features: Synthetic Fibre, Quick-drying, Abrasion-resistant, Moisture-wicking, Easy-care, High-performance, Breathable, Versatile

Cost: ★★☆☆☆

Invented in 1957, Italy

OLEFIN (polypropylene)
Olefin is a synthetic fibre known for its lightweight and moisture-wicking properties. It’s highly resistant to moisture absorption, making it quick drying. Olefin fabric has excellent breathability, durablility, and is resistant to stains, fading, and deteriorating in the sun.

Polypropylene is a biproduct of oil production which used to be burned off. However, nowadays, it can be used for other applications.

Descriptive Terms: Lightweight, Smooth, Soft

Uses: Outdoor furniture, Carpets, Rugs, Sportswear, Activewear, Upholstery, Socks, Industrial fabrics, Luggage, Tarps

Features: Synthetic, Quick-drying, Fade-resistant, Mildew-resistant, Versatile, Colourfast, All-weather, Easy-care, High-performance, Durable, Resilient, Stain resistant, Breathable, Weather Resistant

Cost: ★★★☆☆

I was unable to find a solid history for when Organza was invented, however it looks to go back as far as medieval times and could be either from China (largest producers of silk) or Turkestan (where the name originates from).

ORGANZA
Organza is a sheer and lightweight fabric known for its crisp texture and transparency. It is typically made from silk or synthetic fibres, although originally it was made solely from silk. Organza is popularly used in the creation of formal wear and special occasion garments, such as bridal gowns, evening dresses, and prom dresses, layering over thicker materials.

Although similar to chiffon and tulle, organza is stronger than both, and is stiffer as well. This stiffness, which comes from the acid treatment it gets, allows for it to create a ‘poofier’ look.

Descriptive Terms: Sheer, Lightweight, Crisp, Translucent, Delicate, Shiny, Lustrous, Elegant, Smooth, Transparent, Sheer, Soft, Flimsy, Ethereal, Airy, Fragile, Luminous, Shiny

Uses: Evening gowns, Wedding dresses, Formalwear, Veils, Blouses, Curtains, Drapery, Table runners, Decorations, Sashes

Features: Plain Weave, Breathable, Luxurious, All-season

Cost: ★★★☆☆

Invented in the 1570s in the Philippines

PINEAPPLE FIBRE (Piña)
Pineapple fibre is a sustainable fibre derived from the leaves of pineapple plants. It is a byproduct of the pineapple industry, making it even more eco-friendly. The production of this fibre typically comes from the Red Spanish pineapple, not the sweet variety used for food.

Descriptive Terms: Textured, Natural, Smooth, Soft, Gossamer

Uses: Clothing, Accessories, Handbags, Home textiles, Upholstery, Tablecloths, Dresses, Scarves, Sarees, Crafts

Features: Natural Fibre, Biodegradable, Eco-friendly, Vegan, Sustainable Fashion, Moisture-wicking, Versatile, Innovative, Lightweight, Breathable, Plant-based, Renewable, Durable

Cost: ★★☆☆☆

Patented in 1928 (by GE), it didn’t make its way into mainstay fashion until 1951.

POLYESTER
Polyester is a synthetic fabric known for its versatility and durability as well as not requiring ironing. These traits make it one of the most popular fabrics in the world. It is strong with the ability to retain its shape. Additionally, its moisture-wicking capabilities allow for quick evaporation of sweat.

The fabric is often mixed with other fibres to improve shrinkage, wrinkle resistance, and durability.

Polyester is a petroleum product, though some plant-based options exist.

Descriptive Terms: Lightweight, Smooth, Shiny, Soft

Noise It Makes: Swishing, Swooshing

Uses: Clothing, Bedding, Curtains, Upholstery, Sportswear, Activewear, Tents, Bags, Tablecloths, Linings

Features: Synthetic Fibre, Quick-drying, Stain-resistant, Fade-resistant, Moisture-wicking, Breathable, Colourfast, Versatile, Easy care, Long lasting

Cost: ★★☆☆☆

First used in 14th century Byzantium

POPLIN
Poplin is a lightweight fabric characterized by its crisp texture and plain weave. It’s typically made from cotton or a cotton blend, offering a smooth and soft feel. It drapes well and holds its shape, making it suitable for both structured and flowing designs.

Descriptive Terms: Smooth, Lightweight, Fine, Soft, Crisp, Versatile, Lustrous, Breathable. Timeless, Classic, Comfortable, Finely ribbed, Strong

Uses: Shirts, Dresses, Blouses, Trousers, Skirts, Bedding, Upholstery, Tablecloths, Scarves, Ties

Features: Cotton-based, Easy-care, Wrinkle-resistant, Versatile, Durable, Plain-weave,

Cost: ★★☆☆☆

First used in ancient Egypt (up to 5000 BCE) for mummy cloths

RAMIE
Ramie is a natural fibre derived from the stalks of the ramie plant. It’s known for being lightweight and breathable. Ramie fabric offers excellent moisture-wicking properties, keeping the body cool and dry. It has a lustrous appearance and a silky texture.

Ramie is highly sustainable as the plant requires minimal water and pesticides to grow. It’s highly durable and one of the strongest natural fibres, being 8x stronger than cotton.

Descriptive Terms: Strong, Lustrous, Smooth, Textured, Lightweight, Durable, Crisp, Soft, Silky, Comfortable

Uses: Dresses, Blouses, Shirts, Skirts, Hats, Upholstery, Curtains, Tablecloths, Home decor, Towels

Features: Natural, Biodegradable, Eco-friendly, Sustainable, Moisture-wicking, Antimicrobial, Versatile, Breathable, Stain resistant, Shrink resistant

Cost: ★★☆☆☆

Invented in 1846 in the US

RAYON
Once called artificial silk before the name Rayon was used, this versatile fabric is made from regenerated cellulose fibres. It’s known for its soft and flowing drape, resembling the look and feel of natural fibres like silk. Rayon is lightweight, breathable, and has excellent moisture-absorbent properties, making it comfortable to wear in various climates.

Rayon is considered a more sustainable option compared to synthetic fibres, as it’s derived from renewable plant sources.

Descriptive Terms: Silky, Smooth, Soft, Lightweight, Drapey, Lustrous, Versatile, Comfortable, Shiny

Uses: Dresses, Blouses, Skirts, Tops, Pants, Scarves, Lingerie, Bedding, Upholstery, Home decor

Features: Semi-synthetic, Cellulose-based, Durable, Absorbent, Versatile, Easy-care, Eco-friendly, Moisture-wicking, Breathable

Cost: ★★★☆☆

This type of weave was in use back in World War II (early 1940s)

RIPSTOP
Ripstop is not so much a fabric as a type of weave. The fabric itself needs to be made from a thick, strong material. This weave is known for its exceptional durability and resistance to tearing. It is constructed with a grid pattern of thicker reinforcing threads, typically made of nylon or polyester, which help prevent rips and tears from spreading.

Ripstop fabric is lightweight and provides excellent strength-to-weight ratio, making it suitable for outdoor gear and activities.

Descriptive Terms: Grid patterned, subtle check pattern, Strong,

Uses: Outdoor gear, Camping equipment, Tents, Backpacks, Kites, Sails, Parachutes, Hammocks, Jackets, Pants, Military, Tactical and Combat pants, shirts, jackets

Features: Interwoven reinforcement threads, Quick-drying, Breathable, Versatile, High-performance, Weather-resistant, Tear resistant, Abrasion resistant

Cost: ★★★☆☆

Originating in China 3,000 years ago. There was increased popularity in Europe in the 1200s.

SATIN
Satin is both a fabric and a type of weave. The satin weave creates a glossy, smooth surface on one side of the fabric.

The fabric is typically made from silk, although synthetic satin blends are also available. It has a soft and flowing drape, making it ideal for garments that require fluidity and elegance.

Like other delicate fabrics, satin should be handwashed or dry cleaned. It should not be put in a dryer but patted with a towel and laid flat to dry.

Descriptive Terms: Smooth, Glossy, Lustrous, Silky, Shiny, Luxurious, Soft, Drapable, Sleek, Elegant, Delicate, Slippery, Cool, Luxurious, Sensual

Noise It Makes: Swishing, Whispering

Uses: Bedding, Sheets, Pillowcases, Clothing, Nightwear, Dresses, Blouses, Curtains, Lingerie, Robes

Features: Breathable, Versatile

Cost: ★★☆☆☆

Originating in India in the 1600s.

SEERSUCKER (Railroad Stripe)
Seersucker is a fabric known for its distinctive puckered texture and alternating smooth and puckered stripes, although seersucker can be made without the stripes. It’s typically made from cotton or a cotton blend, making it lightweight and breathable, which is ideal for hot weather.

Seersucker is woven in a way that creates a natural wrinkled appearance, which helps to keep the fabric away from the skin, promoting air circulation that makes it popular for summer clothing. It is known to make common appearances in southern styles as well as at places like country clubs but used to be common for laborers in places like the oil fields and railroad industries. It was also used by the Spanish and Moroccan armies in the 19th century.

What is with the odd name? It’s derived from the Persian words for milk and sugar, a call to the interchanging smooth and textured stripes.

Descriptive Terms: Textured, Crinkled, Lightweight, Breathable, Cool, Casual, Striped, Breezy, Playful, Comfortable, Puckered, Rippled, Thin, Bunched texture, Wrinkled texture, Uneven,

Uses: Summer suits, Dresses, Shirts, Skirts, Shorts, Pajamas, Bedding, Tablecloths, Baby clothes, Curtains

Features: Durable, Easy-care

Photo by Quang Nguyen Vinh on Pexels.com

Cost: ★★★★★

First produced over 8,000 years ago in China

SILK
Silk is a natural fabric known for its luxurious feel, smooth texture, and exquisite luster. It’s produced from the fibres spun by silkworms to create their cocoons and other insects such as beetles, bees, hornets, etc.

Silk is highly valued for its softness, comfort, and breathability, making it a popular choice for both casual and formal attire.Moreover, it is lightweight and has excellent draping qualities, allowing it to flow gracefully and elegantly.

It’s best to handwash silk or have it dry cleaned. Although one of the world’s strongest fibres, it can lose 1/5 of its strength while wet! If a garment is particularly fine or high quality, it may be best to store it in a cool, dark, and dry area with good air flow. Storing it between cotton in a cotton bag is even better.

Descriptive Terms: Luxurious, Smooth, Shiny, Lustrous, Soft, Elegant, Delicate, Sensual, Drapey, Silky, Light, Soft, Elegant, Sophisticated, Luxurious, Regal

Noise It Makes: Whispering, Swishing

Uses: Dresses, Blouses, Lingerie, Ties, Scarves, Bedding, Upholstery, Wedding gowns, Accessories, Kimonos, Parachute, Wall hangings, Surgical sutures

Features: Natural, Breathable, Hypoallergenic, Biodegradable, Can shrink in the wash

ETHICAL DEBATE: The silk industry has raised ethical concerns due to the treatment of silkworms during the process of silk production, which involves boiling the cocoons to obtain the silk threads. Alternative methods, such as peace silk or vegan silk, have been developed to address these concerns. There are also many alternatives to silk, nowadays, with many fabrics having been developed to replace it at a lesser and more humane cost.

Cost: ★★★☆☆

Introduced in 2000 by DuPont

SORONA
Sorona is a bio-based polyester known for its softness, durability, and eco-friendly properties. It’s made from renewable plant-based materials, offering a sustainable alternative to synthetic fabrics.

Sorona is known for its excellent stretch and recovery, providing comfort and freedom of movement. It’s also moisture-wicking, effectively pulling moisture away from the skin and allowing for quick evaporation.

The name Sorona is both a fabric name and brand.

Descriptive Terms: Soft, Smooth, Durable, Sustainable, Resilient, Versatile, Stretchy, Comfortable, Silky,

Uses: Apparel, Activewear, Outerwear, Jackets, Pants, Dresses, Skirts, Performance clothing, Accessories, Home textiles

Features: Bio-based fiber, Renewable, Quick-drying, Moisture-wicking, Stain-resistant, Fade-resistant, Eco-efficient, High-performance, Eco-friendly

Cost: ★★★☆☆

Introduced in 1941 by Henry Ford (the car guy)

SOYBEAN FIBRE
Soybean fabric, also known as soy silk or soy fibre, is a sustainable and eco-friendly textile made from the byproducts of soybean processing. It’s known for its softness, smooth texture, and breathability. Soybean fabric has natural moisture-wicking properties, helping to keep the body cool and dry. It is also hypoallergenic and resistant to bacteria, making it suitable for those with sensitive skin.

Descriptive Terms: Smooth, Soft, Lustrous, Silky, Breathable, Lightweight, Comfortable,

Uses: Clothing, Undergarments, Sleepwear, Activewear, Socks, Bedding, Towels, Accessories, Loungewear, Baby clothing

Features: Natural Fiber, Moisture-wicking, Biodegradable, Renewable, Hypoallergenic, UV-resistant, Eco-friendly, All-season

Cost: ★★★☆☆

Originating in Baghdad in the 12th century

TAFFETA
Taffeta is a crisp, lightweight fabric known for its smooth texture, often featuring a subtle luster. It is woven with a tight and fine plain weave, giving it a structured and slightly stiff feel. Taffeta fabric has a characteristic rustling sound when it moves.

Originally, it was made from silk, but is often made from other fibres nowadays such as polyester, acetate, or nylon. This helps cut down on cost as silk is expensive.

This fabric does not have a lot of stretch and snags easily, causing damage so care is needed when using this fabric. Other considerations are that it should be washed and dried carefully, using cold water and hanging to dry.

Descriptive Terms: Smooth, Crisp, Shiny, Lustrous, Rustling, Elegant, Structured, Stiff, Luxurious, Sleek, Iridescent (with some types)

Noise It Makes: Rustling, Crinkling

Uses: Formalwear, Evening gowns, Dresses, Jackets, Skirts, Home decor, Curtains, Upholstery, Sashes, Accessories, Corsets, Linings, Parachutes (World War II), Umbrellas,

Features: Tightly woven, Smooth surface, Taffeta fabric, Shiny finish, Durable, All-season, Crisp texture, Formal, Elegant, Structured appearance

Cost: ★★★☆☆

Developed in 1982

TENCEL (Lyocell)
Tencel is a sustainable and eco-friendly fabric made from cellulose fibres derived from wood pulp, often sourced from sustainably managed forests. Tencel fabric is known for its exceptional softness, breathability, and moisture-absorbent properties. It has a smooth and luxurious feel.

Tencel is highly breathable, allowing for efficient airflow and moisture management, which makes it ideal for warm climates and exercise wear. It is often mixed with other fibres to enhance functionality, feel, and appearance. It is commonly blended with modal.

Tencel is both the name of the fabric and the brand name TENCEL.

Descriptive Terms: Silky, Smooth, Lustrous, Soft, Drapey, Luxurious, Comfortable, Elegant

Uses: Dresses, Blouses, Pants, Bedding, Towels, Curtains, Upholstery, Activewear, Accessories, Home textiles, Jeans

Features: Cellulose-based, Sustainable, Moisture-wicking, Breathable, Biodegradable, Eco-friendly, Hypoallergenic, Wrinkle resistant

Cost: ★★☆☆☆

Created in 17th century Turkey. It became more popular in western nations in the mid 19th century.

TERRY CLOTH
Terry cloth is a highly absorbent and versatile textile known for its unique looped pile construction. It’s crafted from cotton or a blend of cotton and other fibers. The defining feature of terry cloth is its looped surface, which creates a plush and textured feel. The loops in terry cloth provide excellent moisture-wicking capabilities and the ability to dry quickly.

Though not common in clothing now, it was used in clothing items in the late 1970s and in the 1990s.

Descriptive Terms: Plush, Soft, Textured, Comfortable, Cozy, Practical, Sturdy

Uses: Towels, Bathrobes, Loungewear, Pajamas, Beachwear, Kitchen towels, Washcloths, Cleaning cloths, Baby products, Sportswear, Spa accessories

Features: Durable, Highly absorbent, Moisture-wicking, Quick-drying, Breathable, Diverse thickness options, Durable, Easy to care for

Cost: ★★☆☆☆

I was unable to find when this was invented, but you can be safe in assuming this fabric was probably released in the 2000s.

THERMOLITE
Thermolite is a synthetic fabric known for its excellent thermal insulation properties. It provides warmth and comfort in cold weather conditions while remaining lightweight and non-bulky.

Thermolite fabric is designed with hollow-core fibres that trap air, creating a layer of insulation that helps retain body heat. Despite its insulating properties, Thermolite is also moisture-wicking, effectively drawing moisture away from the skin and allowing it to evaporate quickly, keeping the wearer dry and comfortable.

This fabric is made 100% from recycled PET bottles or textile waste.

Thermolite is both the fabric name and a brand name, THERMOLITE, from the Lycra company.

Descriptive Terms: Insulating, Lightweight, Warm, Soft, Comfortable, Cozy

Uses: Cold-weather clothing, Insulated outerwear, Socks, Base layers, Gloves, Sleeping bags, Blankets, Active wear, Thermal accessories

Features: Insulating, Breathable, Quick-drying, All-season, High-performance, Versatile, Weather-resistant, Durable, Synthetic, Moisture-wicking,

Cost: ★★☆☆☆

This fabric can be most likely tracked back to ancient Egypt or Greece, though the exact timeline is unclear.

TULLE
Tulle is a sheer and lightweight fabric which is also known as netting. It’s made from various fibres, including nylon, silk, or polyester. Tulle fabric has a delicate and airy texture, offering a unique and ethereal look. It’s often used for decorative purposes, such as creating layers, ruffles, or overlays in garments, adding volume and dimension.

It is made from silk, nylon, polyester (most common), or less commonly rayon.

Tulle is popularly associated with bridal veils and wedding dresses, as well as tutus in dancewear.

Descriptive Terms: Sheer, Delicate, Lightweight, Fine, Textured, Translucent, Soft, Flowing, Elegant, Airy, Ethereal, Romantic, Fanciful, Rough

Noise It Makes: Rustling, Crinkling, Swooshing

Uses: Eveningwear, Ballerina tutus, Bridal veils, Gowns, Decorations, Costumes, Lingerie, Crafts, Table decorations, Gift wrapping

Features: Net-like, Fine mesh, Tulle fabric, Drapable, Sheer, Lightweight, Versatile, Decorative, Transparent, Delicate

Cost: ★★★☆☆

This fabric originated in Scotland. I was unable to find an exact time for when this fabric started being used, but references seem to start in the 1700s.

TWEED
Tweed is a classic fabric known for its textured appearance and durability. It’s traditionally made from wool, featuring a unique combination of colours and a subtle herringbone or twill pattern.

Tweed is valued for its sturdiness and resistance to wear, making it great for both clothing and home decor. It is commonly used for jackets and suits, with particular popularity in places like England, Wales, Scotland, and Ireland.

Originally, the fabric was called Tweel (Scots for Twill), but a misinterpretation saw its name change to tweed. It was a popular textile for farmers and peasants but became popular with upper class folk in England in the late 1840s, eventually even adopted by the British royal family who have their own Balmoral Tweed.

In the late 19th century, tweed became a statement fabric for women rebelling against traditional feminine fabrics.

Tweed is generally manufactured in neutral tones or earth tones, but has been a lot more variety in colour in modern times.

Descriptive Terms: Textured, Woolen, Multicolored, Coarse, Warm, Traditional, Earthy, Rustic, Flecked, Practical, Classic, Rough, Informal, Stylish, Sturdy, Slightly fuzzy, Thick

Uses: Suits, Jackets, Coats, Skirts, Dresses, Trousers, Hats, Scarves, Upholstery, Home decor

Features: Durable, Insulating, Moisture resistant

Cost: ★★★☆☆

Brought out as a less expensive alternative to velvet in the 1840s in France.

VELOUR
Velour is a luxurious and plush textile known for its softness and velvety texture. It is typically made from natural fibers like cotton or a blend of cotton with synthetic fibers like polyester. The distinguishing feature of velour is its dense pile, which creates a smooth and lush surface that feels exceptionally gentle.

It didn’t become popular in clothing until the 1970s, previously used for upholstery purposes. When it originally started to be used for clothing in the 1960s, there was some backlash because of this.

The original difference between velvet and velour was that velvet was made from silk. Nowadays, velvet is made from many of the same materials. Velour differs because it has some stretch to it, where velvet does not. There is also less shine with velour, and they are made different ways.

Descriptive Terms: Plush, Soft, Velvety, Luxurious, Smooth, Elegant, Comfortable, Drapey, Stylish, Opulent, Sophisticated, Rich, Dense, Gentle, Thick, Warm, Lush

Uses: Loungewear, Robes, Dresses, Tracksuits, Eveningwear, Formal attire, Upholstery, Automotive interiors, Accessories, Home textiles, Stage curtains, Loungewear

Features: Durable, Stretchy, Versatile

Cost: ★★★☆☆

Originally produced in 2000 BC, Egypt

VELVET
Velvet is a plush fabric known for its luxurious and soft texture. It features a dense pile of evenly cut fibres that give it a smooth feel. Velvet has a distinctive luster that differs from velour.

Although nowadays velvet is made from cotton, linen, wool, and/or synthetic fibres, it was originally made from silk. Back then, it was extremely expensive and limited for use by only nobles or royalty.

Crushed velvet is produced by twisting velvet when it’s wet, or by crushing. This type of velvet is shinier than its counterpart. Crushed velvet was very popular in the late 90s and early 2000s.

Descriptive Terms: Plush, Soft, Velvety, Luxurious, Smooth, Elegant, Comfortable, Drapey, Stylish, Opulent, Sophisticated, Rich, Dense, Gentle, Thick, Warm, Lush

Uses: Loungewear, Robes, Dresses, Tracksuits, Eveningwear, Formal attire, Upholstery, Automotive interiors, Accessories, Home textiles, Stage curtains, Loungewear

Features: Durable, Versatile

Cost: ★★★☆☆

VELVETEEN
Velveteen is a fabric that closely resembles velvet in its soft and smooth texture, yet it is typically more lightweight and affordable. It offers a similar velvety feel and luxurious appearance, making it an attractive alternative for those seeking the elegance of velvet at a more accessible price point.

Descriptive Terms: Plush, Soft, Velvety, Luxurious, Smooth, Elegant, Comfortable, Drapey, Stylish, Opulent, Sophisticated, Rich, Dense, Gentle, Thick, Warm, Lush

Uses: Loungewear, Robes, Dresses, Tracksuits, Eveningwear, Formal attire, Upholstery, Automotive interiors, Accessories, Home textiles, Stage curtains, Loungewear

Features: Durable, Versatile

Photo by daniela hernandez on Pexels.com

Cost: ★★★★★

I couldn’t find an exact timeframe for when this started to be used, but it at least goes back to 13th century, South America.

VICUNA
Vicuña is an exquisite and highly sought-after natural fibre known for its softness, warmth, and rarity. Vicuña fabric is made from the fine undercoat of the vicuña, a South American camelid known for its delicate fleece. Due to the limited availability and delicate nature of the fibre, vicuña fabric is considered one of the most luxurious and expensive in the world. It is incredibly lightweight yet exceptionally warm.

In the 20th century, vicuñas became an endangered species with only about 6,000 living in Peru by the 1960s. This has prompted conservation efforts to reestablish the species. Vicuñas were driven to the endangered list due to rampant poaching for their valuable wool. Conservation efforts include legal protections, controlled shearing programs, and habitat conservation to recover their population. These measures aim to protect Vicuñas and promote sustainable use of their prized wool while preventing further endangerment.

Descriptive Terms: Luxurious, Silky, Soft, Rare, Lustrous, Elegant, Fine, Warm, Precious, Exquisite, Lightweight, Rich, Cozy, Comfortable

Uses: High-end clothing, Coats, Shawls, Scarves, Stoles, Accessories, Luxury textiles, Fabrics, Home decor

Features: Natural Fiber, Vicuña wool, Insulating, Ultra-soft, Rare and precious, Hypoallergenic, Lightweight, Exclusive, Regal, Exceptional quality

Ethical Debate: Ethical concerns surrounding Vicuña wool production stem from illegal poaching, captive breeding, and shearing practices that may harm the animals. Habitat disruption, fair labor conditions, and sustainable methods are also issues. Efforts are being made to address these concerns, emphasizing conservation, ethical farming, and responsible shearing. Consumers can support ethical Vicuña wool by choosing brands with sustainable and humane practices and advocating for stricter regulations.

Cost: ★★☆☆☆

VINYL
Vinyl is a synthetic fabric known for its durability, water resistance, and versatile nature. It is made from polyvinyl chloride (PVC) or polyurethane (PU) and is often coated or laminated to enhance its waterproof properties. Vinyl fabric has a glossy or shiny appearance, providing a sleek and modern aesthetic. It is highly resistant to stains, spills, and fading, making it suitable for various applications. Vinyl is commonly used in upholstery projects, such as furniture, car interiors, and boat seats, as it can withstand heavy use and is easy to clean. It is also utilized in the creation of fashion accessories like bags, wallets, and shoes, offering a stylish and contemporary look. With its synthetic construction and durable characteristics, vinyl fabric provides a practical and versatile option for those seeking a waterproof and long-lasting material.

Descriptive Terms: Shiny, Smooth, Glossy, Synthetic, Flexible, Waterproof, Durable, Sleek, Modern, Vibrant

Noise It Makes: Creaking, Squeaking

Uses: Upholstery, Bags, Accessories, Shoes, Jackets, Home decor, Rainwear, Tablecloths, Car interiors, Wall coverings

Features: Synthetic Material, Water-resistant, Vinyl fabric, Easy to clean, Stain-resistant, Versatile, Modern, High-gloss, Bold colors, Weather-resistant

Cost: ★★☆☆☆

VOILE
Voile is a lightweight and sheer fabric known for its delicate and airy appearance. It’s typically made from cotton or cotton blends and has a soft, smooth texture. Voile fabric is translucent and lightweight with excellent draping properties, making it perfect for flowing and breezy garments suitable for warmer weather as well as thin curtains that filter light rather than block it..

Descriptive Terms: Sheer, Lightweight, Soft, Delicate, Transparent, Airy, Fine, Flowing, Drapable, Elegant, Cool, SIlky, Crisp, Wiry, Stiff but flexible, Not stretchy

Uses: Curtains, Blouses, Dresses, Scarves, Lingerie, Bridal veils, Baby clothes, Window coverings, Upholstery, Home decor, mosquito netting

Features: Plain Weave, Semi-sheer, Breathable

Photo by Trinity Kubassek on Pexels.com

Cost: ★★★☆☆

Likely first used in 10,000 – 6,000 BCE in Mesopotamia. Records on the use of wool as a textile are all over the place, from 4th century BCE to 4,000 BCE, to 10,000 BCE.

WOOL (Sheep)
Wool is a natural fibre known for its exceptional warmth, insulation, and versatility. It’s derived from the fleece of sheep. Wool fabric provides excellent insulation, trapping air within its fibres to create a layer of warmth. It’s also moisture-wicking, drawing moisture away from the body and allowing it to evaporate, keeping the wearer dry and comfortable. Wool is also highly durable and resilient, with the ability to retain its shape and withstand wear and tear.

Wool can be carefully washed in cold water only with wool-friendly detergent. Wool tends to shrink if not cared for properly.

Types: Merino, Acrylic, Lambswool, Melton, Shetland, Lopi, Tibetan

Descriptive Terms: Warm, Soft, Cozy, Natural, Durable, Insulating, Textured, Luxurious, Timeless, Classic, Scratchy (some varieties)

Uses: Sweaters, Coats, Suits, Scarves, Blankets, Rugs, Hats, Skirts, Dresses, Upholstery

Features: Animal Fiber, Insulation, Moisture-wicking, Biodegradable, Natural elasticity, Breathable, Prone to pilling

ETHICAL DEBATE: While wool is generally considered a natural and renewable fibre, historical ethical concerns have revolved around issues such as the mulesing of sheep, which is a controversial practice involving the removal of strips of skin to prevent flystrike. Sustainable and ethical practices in the wool industry, such as responsible sourcing and animal welfare standards, aim to address these concerns.

Photo by Pixabay on Pexels.com

Cost: ★★★★☆

Yaks started to be domesticated around 8 BCE in Central Asia, so while records are not clear on the first use as a textile, it was likely around then.

YAK
Yak wool, derived from the undercoat of yaks, is a natural fibre known for its exceptional warmth, softness, and durability. Yak fabric offers excellent insulation like most animal fibres and features a hollow hair that helps to aid in this.

It has a luxurious feel, similar to other natural animal fibres. Unlike sheep wool, it is not prone to pilling . However, the more coarse outer fibres (rather than the fullfy under fibres) are also used. They tend to be made into tents and ropes.

Wool can be carefully washed in cold water only with wool-friendly detergent. Wool tends to shrink if not cared for properly.

Descriptive Terms: Soft, Cozy, Warm, Insulating, Luxurious, Durable, Textured, Thick, Rich

Uses: Sweaters, Coats, Shawls, Scarves, Blankets, Socks, Accessories, Upholstery, Home textiles, Rugs, Tents, Ropes

Features: Animal Fiber, Eco-friendly, Sustainable, Odour resisstant, Breathable

Fabrics Through History

Here is a timeline about when different fabrics started to be used. This list is by no means exhaustive and does not include all fabrics, especially those with extremely hazy timelines. The individual entries above have more information.

  • Prehistoric Times

    Animal hides and skins

  • 8000 – 7000 BCE

    Hemp, Linen

  • 6000 – 5000 BCE

    Sheep Wool, Felt

  • 5000 – 4000 BCE

    Cotton

  • 5000 – 3000 BCE

    Ramie

  • 4000 – 3000 BCE

    Silk, Yak Wool, Hemp (see entry)

  • 3000 – 1500 BCE

    Jute, Jute, Satin

  • 500 – 200 BCE

    Brocade, Corduroy, Damask (name changed to Damask much later)

  • 300 – 500 CE

    Batiste (possibly, see entry on this fabric)

  • 800 BCE

    Muslin (arguably, see entry)

  • 900 – 1100 CE

    Satin, Coir

  • 1100 – 1200 CE

    Cashmere, Taffeta, Muslin, Velvet

  • 1300 CE

    Banana Fibre, Canvas (arguably, see post), Cambray, Popli

  • 1400 CE – 1499 CE

    Gabardine, Lace

  • 1500 CE – 1599 CE

    Broderie Anglaise, Gauze, Pineapple fibre

  • 1600 CE – 1699 CE

    Flannel, Chanille, Demin, Gingham

  • 1700 CE – 1799 CE

    Chenille, Chiffon, Corduroy, Denim, Jacquard, Poplin, Tulle

  • 1800 CE – 1899 CE

    Rayon, Suede, Boucle, Chiffon (arguably, see entry), Cupro, Jacquard, Rayon

  • 1900 CE – 1999 CE

    Nylon, Acrylic,, Spandex, Polyester, Georgette

  • 2000 CE and onwards

    Acetate, Angora, Bamboo Fabric (arguably, see entry), Coolmax, Cordura, Dyneema, Fleece, Gore-tex, Kevlar, Lycra, Microfibre, Microsuede, Modal, Neoprene, Nomex, Nylon, Olefin, Polyester, Ripstop

Fabrics Restricted for Use by the Rich

Throughout history, various fabrics have been restricted or reserved for specific classes or ranks, such as nobility or royalty. Here are some examples of fabrics that were banned for use by anyone but the elite, along with a general timeline of the bans:

Ermine Fur
Timeline: Medieval to Renaissance period

Ermine fur, characterized by its white colour with black-tipped tails, was considered a symbol of royalty and high status in Europe. Laws and sumptuary regulations during this period restricted the use of ermine fur to the nobility and royalty.

Cloth of Gold
Timeline: Medieval to Renaissance period

Cloth of gold was a luxurious fabric made by weaving gold threads with silk or other fibres. It was a highly prized and expensive material, reserved for royalty and high-ranking nobles. The use of cloth of gold by the general population was strictly regulated or prohibited.

Silk Fabrics
Timeline: Various periods throughout history

Silk fabrics were often associated with wealth and nobility. In certain cultures and historical periods, laws or social customs restricted the use of silk fabrics to the upper classes.

Brocade and Embroidered Fabrics
Timeline: Medieval to Renaissance period

Elaborate brocade and embroidered fabrics featuring intricate patterns and designs, were favored by the nobility and royalty. Sumptuary laws of the time restricted or regulated the use of such fabrics to maintain distinctions of social hierarchy.

Velvets and Velour
Timeline: Medieval to Renaissance period

Velvet and velour were highly prized fabrics associated with luxury and high status. Restrictions were imposed on the use of these fabrics to preserve exclusivity for the nobility and royalty.

Muslin
Timeline: Mughal Empire (16th to 19th centuries)

Muslin, a lightweight and finely woven cotton fabric, was highly valued during the Mughal period in India. It was favored by the nobility and royalty, with some varieties of muslin being extremely expensive and reserved for the elite.

History of Preserving Fabrics

Throughout history, various substances and techniques have been used to preserve clothing and textiles. Remember, preservation methods and substances used varied across different regions and cultures. Availability and local customs played a significant role in determining the specific techniques employed.

Airing and Sunning
Textiles were often aired out and exposed to sunlight, as this helped to remove moisture and prevent the growth of mildew or mold. Sunlight was also known to have a bleaching effect on fabrics, helping to brighten and freshen them.

Storage in Dry and Dark Areas
Textiles were stored in dry, well-ventilated areas to prevent moisture buildup, which could lead to mold or deterioration. Dark areas were preferred to minimize exposure to light, which could fade colours and weaken fibres.

Cedar Wood and Cedar Oil
Cedar wood and cedar oil were commonly used as natural moth repellents. Textiles were stored with cedar chips or cedar wood chests, as the scent of cedar repels moths and other insects that could damage fabrics.

Herbs and Flowers
Various herbs and flowers were used to deter pests and impart a pleasant aroma to textiles. Examples include lavender, rosemary, thyme, and dried flower petals. These were often placed in storage areas or added to sachets and hung with clothing to repel insects.

Smoke Treatment
Smoke from certain plants or resins was used to fumigate textiles and deter pests. Textiles were hung near smoky fires or exposed to smoke from substances like dried herbs, resins, or specific woods known for their insect-repellent properties.

Oils and Fats
Natural oils and fats were applied to textiles to moisturize and condition the fibres, preventing them from becoming brittle. Animal fats, such as tallow or lanolin, were commonly used for this purpose.

Salt
Salt was sometimes used as a preservative for textiles. Fabrics were soaked or treated with saltwater solutions to discourage insect activity and prevent decay.

Mothballs
While specific records from the 1st to 20th centuries AD are limited, the use of substances similar to modern mothballs can be traced back to ancient times. Historically, substances like camphor, dried herbs, or aromatic resins were used to repel moths and insects.

Textiles Terminology You Might Want to Know

Bias: The diagonal direction of woven or knitted fabric, often used for stretch and drape.

Bolls: Seed pods of cotton plants that contain cotton fibres used in fabric production.

Crease-resistant: Fabrics treated to resist wrinkling and creasing.

Drape: The way a fabric hangs or falls when draped over a surface, influenced by the weight and texture of the fabric.

Dyeing: The process of adding colour to textiles using various dye substances.

Embroidery: The decorative embellishment of fabrics with needle and thread, creating intricate designs.

Finishing: The final treatment or processes applied to fabrics to improve appearance, texture, and other characteristics.

GSM (Grams per Square Meter): A unit of measurement for fabric weight, indicating the mass of fabric per square meter.

Knit: A fabric construction method where yarns are interlooped to create a flexible and stretchable textile.

Loom: A machine used for weaving fabrics by interlacing warp and weft yarns.

Mercerization: A treatment used on cotton to increase its strength, luster, and affinity for dyes.

Non-woven: Fabrics made by bonding fibres together, rather than weaving or knitting.

Pile: A raised surface created by loops or cut fibres on the face of the fabric, commonly seen in fabrics like velvet and corduroy.

Pilling: As some fabrics age, wear and tear cause small linty balls to forn on the fabric surface.

Printing: The process of applying patterns or designs onto fabrics using different printing techniques.

Selvage (Selvedge): The finished edge of the fabric that prevents it from unraveling.

Sheen: The level of shine or luster on the surface of the fabric, affected by the fibre type and finishing treatments.

Thread count: The number of warp and weft yarns per square inch in a woven fabric, used to determine fabric quality and texture.

Warp: The lengthwise yarns that are held under tension during weaving, running parallel to the selvage of the fabric.

Warp-faced: A fabric where the warp yarns are more visible on the surface due to the weaving structure.

Wales: In woven fabrics, wales refer to the vertical rows of loops or yarns.

Weave: The pattern or structure formed by interlacing warp and weft yarns during the fabric production process.

Weft: Also known as woof or filling, weft refers to the horizontal yarns that are interlaced with the warp yarns during weaving to create the fabric.

Weft-faced: A fabric where the weft yarns are more visible on the surface due to the weaving structure.

Brief Overview of Sewing Techniques That Might Be Helpful

Links to Google mages of these techniques have been provided. As this is the internet, I feel I should disclaimer this by saying I can’t control what turns up in the images, but hopefully it stays wholesome. In the case of terms where they may be confusion, I’ve added additional words to make sure that confusion is avoided.

Appliqué
Adding a decorative fabric layer onto a base fabric, often stitched or adhered in place. GOOGLE IMAGES

Basting
Temporary hand or machine stitching used to hold fabric pieces together for fitting or preparation before final sewing. GOOGLE IMAGES

Bias Binding
Strips of fabric cut on the bias (diagonal to the fabric grain) used to finish edges or create decorative trim. GOOGLE IMAGES

Button Tufting
Adding buttons to fabric-covered furniture or cushions, creating a tufted and padded appearance. GOOGLE IMAGES

Couching
Attaching decorative threads or yarns onto fabric using parallel stitches. GOOGLE IMAGES

Darting
Adding triangular or wedge-shaped tucks in fabric to shape garments to fit the contours of the body. GOOGLE IMAGES

Embroidery
Decorative stitching or embellishment on fabric, often featuring intricate patterns or designs. GOOGLE IMAGES

French Knots
A type of embroidery stitch creating small, raised knots for decorative accents. GOOGLE IMAGES

Gathering
Drawing fabric together to create controlled gathers or ruffles, commonly used in sleeves, waistbands, and decorative details. GOOGLE IMAGES

Hemming
Folding and stitching the edge of fabric to create a neat and finished edge. GOOGLE IMAGES

Pintucks
Creating small, narrow tucks in fabric to add texture and visual interest. GOOGLE IMAGES

Pleating: Creating folds or creases in fabric to add texture and volume, often used in skirts, dresses, and drapery. GOOGLE IMAGES

Quilting
Stitching together layers of fabric to create a padded, textured effect, commonly used in blankets and quilted garments. GOOGLE IMAGES

Ruffling
Adding gathered or pleated fabric trim to garments or home decor for decorative flounce. GOOGLE IMAGES

Ruching
Gathering fabric in a linear pattern to create a textured and gathered effect, often used in bodices and sleeves. GOOGLE IMAGES

Shirring
Creating rows of parallel gathers in fabric to add stretch and texture, often used in waistbands and cuffs. GOOGLE IMAGES

Smocking
A decorative embroidery technique involving fabric gathering and stitching to create a textured, elastic effect. GOOGLE IMAGES

Tucking
Creating small, narrow folds in fabric for decorative or structural purposes. GOOGLE IMAGES

Trapunto
A form of quilting where specific areas are padded with extra material for a raised, three-dimensional effect. GOOGLE IMAGES

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Writing Fight Scenes: The Basics

Writing fight scenes can be challenging. Whether you’re penning an action thriller or a fantasy epic filled with sword clashes and magical duels, the ability to craft compelling and realistic fight scenes is a valuable skill. We’re going to delve into the art of writing fight scenes but I’m not going to be able to cover it all in one post! This post will be one of a larger set of posts covering everything from the basics (this post) to writing realistic injuries and even weaponry.

Some concepts in this post are talked about in multiple sections as they might be a part of pacing, but also a part of choreography, for example.

Get Around the Post Quickly

Before you dive into the details of writing a gripping fight scene, it’s essential to understand the fundamental principles that underpin all successful action sequences. Let’s explore the basics of crafting compelling fight scenes that will resonate with your readers.

Creating an effective fight scene requires some preplanning – even for those of us who write without much of that. Here are the key concepts you’ll want to prepare for. These are just summaries, but we’ll cover more about each later in the post. These also don’t cover everything we address in this post, just what you want to prepare for in advance.

  • Know the purpose of the fight and how it enhances the story
  • Know why the fight is happening and what got it to this point
    • A fight is a release of tension from a misunderstanding or conflict in values, or something similar. You’ll likely have several fights throughout your story, remember to build up to them, getting more intense each time. Also, you need to be very familiar with what would drive your character into this fight, why they choose to fight. This should be clear to the reader by the time you reach the fight itself.
      We cover this in this section: Exploring the Purpose and Reasons for a Fight
  • Be aware of how to use pacing to drive tension
    • Pacing in a story is essential to creating something a reader doesn’t want to put down. When you get to a fight, pacing will ensure your pivotal scene doesn’t fall flat.
      We cover this in this section: Pacing During a Fight Scene
  • Have at least a general idea of the choreography so you can research fighting styles and realistic damage
    • Knowing how your characters fight, their strengths and weaknesses and realistically what damage they’ll take will help you avoid so many pitfalls. Pitfalls can be things like having a character fighting when it’s uncharacteristic, having skills they shouldn’t have, or walking away from damage that would have killed them.
      We cover this in this section: Tips for Choreographing Memorable Fight Scenes
  • Have an idea how the characters are going to feel during the fight
    • Even though the basest parts of their brain are activated during a fight (lizard brain), your characters are going to be feeling throughout. Relaying this information helps the reader to connect and become invested in both the scene and the character.
      We cover this in this section: Emotion and Fight Scenes: Conveying Tension and Intensity
  • Know what the aftermath and consequences of the fight are going to be
    • Every fight will have consequences. Whether those consequences are world altering or damage to the relationship between the characters involved, you’re going to have to know how to tie this into the story. This will make sure that the fight has meaning and isn’t just a floating scene in your book that really didn’t impact the story at all.
      We cover this in this section: What Comes After the Fight?

We may be creating fictional worlds, but repetition is the key to learning. When people see concepts repeated in media, they start to develop a truth to them in some people’s minds, even if that ‘truth’ is actually a lie. While writing fight scenes, it’s crucial to be aware of and avoid harmful stereotypes that can perpetuate bias, misrepresentation, or cultural insensitivity. Instead, focus on individual character traits, experiences, and training to explain their combat abilities.

Here are some stereotypes to be mindful of:

CULTURAL STEREOTYPES

Asian Martial Arts Expert
The “Kung Fu master” or “ninja” stereotype often portrays Asian characters as inherently skilled in martial arts. This oversimplification ignores the diversity of Asian cultures and backgrounds. It’s also common that people portray all those of Asian descent to be trained in martial arts.

Black Brute / Gang Member
This stereotype depicts Black individuals as aggressive or physically dominant fighters, often reinforcing harmful stereotypes about aggression and violence.

This stereotype has been used to make the Black people seem ‘scary’ or portray them as tribal or as criminals. It reduces them to stereotypes formed by others trying to justify injustices like destruction of culture or slavery.

Latino Gang Member
It’s a harmful stereotype to portray Latino characters as members of violent street gangs, perpetuating negative stereotypes about the Latino community. Unfortunately, we see this a lot in modern politics. It’s often used to portray one group of people as the reason for another culture’s issues and dismisses that culture’s propensity for those crimes.

Often, these stereotypes get justified by referencing instability in their home nations, ignoring the fact that most people have nothing to do with violent groups. Also ignoring other countries often have similar issues.

Native American Savage
Depicting Native Americans as violent or “savage” warriors perpetuates harmful stereotypes rooted in colonial history. As with Black people, it’s used to portray them as tribal and scary. This reduces them to stereotypes formed by others trying to justify injustices like destruction of culture and actions that are in all ways but name, genocidal.

Many indigenous cultures around the world face similar issues. They were called savage for having a society different than others with a different level of technological advancement. Protecting their way of life, children, and resources in the face of militant action was seen as nothing but violence and proof they were uncivilized, rather than often a necessity to protect themselves.

Middle Eastern Terrorist
This stereotype associates Middle Eastern characters with terrorism and violence, contributing to harmful prejudices against people from this region.

These stereotypes are often used to portray these people as monstrous. While violent extremist groups do exist in the Middle East and have taken power in some regions, these stereotypes ignore the fact that most people have nothing to do with these groups and are often victims of them.

Other times, it is used to cause hatred against Middle Eastern religions, while ignoring the problematic features and actions of other religions people may be more familiar with.

There are additional complexities here, but there are two examples.

Mystical/Magical Minorities
Some stories depict people from various cultures as having mystical or supernatural fighting abilities. This reduces them to exotic caricatures and ignores their individuality.

“But,” you may say. “Asian movies often show martial artists as defying gravity and with immense strength!” While that is true, that has become a theme in their home countries. It’s often an allegory for power, dedication, training, mastering of an art. Unless you are of that culture, writing for people in their homeland, it’s best to steer clear of this.

GENDER STEREOTYPES

Women as Weak
One common stereotype portrays women as physically weak and incapable of being effective fighters. This overlooks the many skilled female combatants throughout history and reinforces gender bias.

It also ignores the fact that history is often seen through the lens of those who wrote it, which were men. For example, we now know female Vikings were more common than originally believed. Also, many women in Asian cultures were trained to fight to protect the home and family when their husbands were called away. These are just two examples of how media you were raised on slanted your concept of reality.

Men as Aggressive
This stereotype suggests that men are inherently more aggressive and better suited for physical combat. It can promote toxic masculinity and overlook the diversity of male personalities.

Aggression in men is often portrayed as just a part of their make-up. They’re quick to fight. Quick to take offence. This reduces men to slaves of their primal instincts rather than people with fully functional, evolved brains.

For every highly toxic man who believes in this or lives it, there are many more that want nothing to do with it.

Fighting as Masculine
The idea that fighting is inherently a masculine activity can discourage women and non-binary individuals from pursuing martial arts or combat sports, limiting their opportunities and self-confidence. It can also encourage beliefs that women who know how to defend themselves are unworthy of relationships. This is, unfortunately, a narrative amongst some who believe in traditional gender roles.

Additionally, it goes back to that aggression thing we were just discussing.

Damsel in Distress
A related stereotype depicts women as helpless and in constant need of male protection, perpetuating outdated and harmful notions of female vulnerability.

While we covered much of this in the Women as Weak point, it also strips a woman of being anything but property and as owing affection to any man who does something which might be considered basic decency. You’ll notice almost all damsel in distress media shows the woman falling in love with the man or at least sleeping with him.

In real life, this causes women to become victims of violence by those who feel they are owed something.

Emotionless Warriors
Men, especially in action films, are often portrayed as emotionless, stoic fighters. This stereotype reinforces the idea that men should suppress their emotions and maintain an unfeeling facade.

There has been a long history of men being told they need to only feel specific emotions, and definitely note form deep meaningful bonds with people. This is a massive injustice to men and the root of many problems men experience.

Femininity as a Disadvantage
Some narratives suggest that embracing femininity is a disadvantage in fighting, implying that women must adopt more masculine traits to be effective.

Nothing is one sided. A woman could love to adorn herself in flowery dresses, cook elaborate meals, or other traditional feminine ‘roles’, but they may also love their Jeet Kune Do class and could hand most men their butts. These things are not mutually exclusive.

DISABILITY STEREOTYPES

Avoid depicting characters with disabilities as inherently weaker or incapable of defending themselves. Many individuals with disabilities are skilled fighters or adapt to their circumstances. Portray characters with disabilities authentically, emphasizing their unique strengths and challenges.

SUPERFICIAL CHARACTERIZATION

Steer clear of shallow characterizations that reduce fighters to a single trait (e.g., the “angry fighter” or the “stoic warrior”). Characters should be multi-dimensional and not defined solely by their combat skills. Explore their motivations, fears, and personal growth.

HYPERSEXUALIZATION

Avoid gratuitous or objectifying descriptions of characters, particularly female fighters. Overly sexualized portrayals can undermine their credibility and agency. Focus on character depth and their contributions to the plot beyond their appearance. If you are describing a woman’s breasts in a fight, you’re doing it wrong and should think long and hard about your choices.

To be fair, just because a cliche or trope exists doesn’t mean you can’t use it. Just use them sparingly and try not to rely on them to progress your plot. People will see right through it as weak writing.

The Hero Never Misses
The hero is an impeccable shot, and their bullets or blows unfailingly hit their target, even when faced with a horde of enemies.

The counterpart to this is the Storm Trooper, the villain or lackey who misses every shot, regardless of probability.

Convenient Weapons
A character conveniently finds a powerful weapon or tool at the right moment, often just in time.

Monologuing Villain
The villain pauses the fight to deliver a lengthy speech, giving the hero time to regroup or escape.

Explosive Barrels
Explosive barrels or objects are nonsensically scattered throughout the battlefield, offering a ready-made way to create explosions and chaos.

Unconscious Recovery
Characters knocked unconscious during a fight miraculously wake up at a critical moment, seemingly unscathed. The truth is that if someone is knocked unconscious, they’ve experienced brain damage. The longer they’re knocked out, the more extensive the damage.

The ‘wakes up the next day or in several days without prompt medical intervention’ trope may very well mean that person is no longer fully functional.

Last-Minute Rescue
A character is in a dire situation, but a friend arrives just in time to save them. This is overused and predictable. If it’s going to happen foreshadow. Actually work it into the plot. That doesn’t mean you loose tension, just because you foreshadowed something doesn’t necessitate it happening (red herrings). It can also leave the reader with ‘how bad is this going to get before ____ steps in?’ vibes, keeping tension high.

One-at-a-Time Attacks
The staple of almost every movie! Opponents attack the hero one at a time, allowing the hero to defeat them with ease.

Epic Leap
Characters perform gravity-defying leaps, often over obstacles or onto enemies, with astonishing precision. Also, with their knees intact.

No Backup
Law enforcement or military personnel are noticeably absent during a major crisis, leaving only the main characters to handle the situation.

“Magical” Healing
Characters who heal from wounds in unrealistic timeframes for no apparent reason, or simply because they’re the hero.

Easily Defeated Minions
The villain’s henchmen or minions are dispatched with minimal effort, serving as mere cannon fodder. If your enemy is employing easily defeated minions, they’re not very smart.

Unrealistic Durability and Stamina
Characters survive injuries or physical trauma that would incapacitate or kill a real person. In another post, we’ll cover how to write realistic injuries.

Additionally, fighting is strenuous both physically and psychologically. Fights don’t tend to last long because people run out of energy or can no longer think straight. Your fight isn’t going to last five minutes unless those fighters are taking long breaks in there.

Training Montage
A character rapidly improves their skills through a training montage, becoming a formidable fighter in a short time. Proficiency in fighting takes years to work responses into a person’s instincts. You don’t have that kind of time but be realistic. They’re not going from an everyday person to a black belt in the span of a few months.

Perfect Timing
Characters manage to time their actions to the split second, such as disarming a bomb with just one second left on the timer.

Foe Equals Friend
Two characters locked in combat suddenly realize they share a common enemy and join forces against a greater threat.

Ultimate Sacrifice
A character sacrifices themselves to save others, usually the main character, often in a heroic or dramatic fashion.

Glass Jaw Syndrome
Villains are often defeated with a single punch or hit, no matter their size or strength.

Senseless Fighting
A character doesn’t tell another character something important for ‘reasons’. This generally is to advance the plot only.

Writing fight scenes in different genres requires consideration of the genre’s conventions, settings, technology, and elements specific to that genre. Here are some tips for writing fight scenes in various genres:

FANTASY

Magic and Supernatural Abilities: In fantasy, characters often possess magical or supernatural abilities. Describe these powers, their limitations, and how they influence the fight. Magic spells, enchanted weapons, and mythical creatures can add complexity to the scene.

World-Building: Emphasize the unique world-building elements of your fantasy world. Show how the environment, magical systems, and mystical creatures impact the fight.

Symbolism and Prophecy: Fantasy often includes symbolic elements and prophecies. Incorporate these into the fight scene to add depth and foreshadowing.

HISTORICAL

Research: In historical fiction, accurate research is essential. Study the historical period, weapons, tactics, and combat styles to ensure authenticity.

Language and Manners: Pay attention to the language and manners of the era. Characters should use dialogue appropriate to their time and social status.

Realism: Historical fiction often focuses on realism. Describe the grit, danger, and brutality of historical combat while staying true to the time’s social norms and expectations.

SCIENCE FICTION

Technology and Futuristic Settings: Science fiction offers futuristic technology and settings. Detail advanced weapons, cybernetics, robotics, and other sci-fi elements. Consider how technology influences combat strategies.

Alien Species and Cultures: Sci-fi often features diverse alien species and cultures. Explore how these differences affect fighting styles, tactics, and communication.

Ethical Dilemmas: Science fiction often raises ethical dilemmas related to technology and human nature. Use the fight scene to delve into these moral questions.

HORROR

Fear and Suspense: In horror, emphasize fear and suspense in fight scenes. Describe characters’ terror, paranoia, and the overwhelming presence of the supernatural or the unknown.

Gore and Shock: Don’t shy away from graphic and disturbing descriptions when appropriate for the horror genre. Use visceral details to evoke dread.

Isolation and Vulnerability: Horror often features characters who are isolated or vulnerable. Show how these factors intensify the fight, making escape or survival even more challenging.

MYSTERY OR THRILLER

Mind Games: In mystery and thriller genres, fights can involve psychological elements. Characters may use deception, manipulation, and wit as weapons.

Tension and Suspicion: Maintain a high level of tension and suspicion in fight scenes. Keep readers guessing about character motivations and loyalties.

Clues and Revelations: Use the fight scene to reveal clues and unravel mysteries. Characters may discover vital information or hidden agendas during the confrontation.

ROMANCE

Emotion and Chemistry: In romance, fights can be emotionally charged. Highlight the characters’ emotional turmoil, unresolved feelings, and the chemistry between them.

Conflict Resolution: Show how the fight contributes to character growth and the eventual resolution of their romantic tension.

Intimacy: Romance can involve intimate moments during or after a fight. Use sensory details and emotional connections to convey the romantic aspects of the scene.

PURPOSE AND CONTEXT
Nothing should happen in your book unless it has purpose, although that purpose can be to mislead (red herrings, for example). You have a maximum word count you’re working with and don’t want to confuse readers with irrelevant info. Put each scene to good use.

WHY A FIGHT SCENE?
For a fight scene, ask yourself why this conflict is happening in the first place, and how it advances the plot or character development. Consider the emotional stakes for the characters involved. What are they fighting for? What’s at risk if they win or lose? Don’t just write a fight scene because you think it’s necessary for a good story. Also, and I’ll mention this a few times, do not write forced fight scenes. These fight scenes rely on characters not naturally communicating, or similar, forcing the fight to happen at some point later.

For example, a forced fight scene could be where one character doesn’t give another character vital information any reasonable person would. The omission later leads to a major conflict. This is often done because the character is trying to protect someone or is feeling shame. I can’t begin to count how many stories I’ve read or watched that have a character acting out of character to do this. Then, they’ll often watch things get worse and worse but say nothing despite tonnes of opportunity. While these protection and shame could certainly be legitimate in the short term, they should not cause major conflicts in your story. This shows a lack of planning on your part, or weak writing – like you didn’t know how to achieve this otherwise, so you forced it to happen.

Before you begin crafting a fight scene, it’s crucial to understand the motivations and driving forces behind the conflict. How do their goals and personalities affect their fighting style and strategy? Ensure that the fight is consistent with each character’s abilities, experience, and temperament.

Here are some common reasons why people engage in physical combat:

SELF DEFENCE
Self-preservation is one of the most instinctual reasons for fighting. Characters may have to fight to protect their lives, safety, property, or the lives of loved ones. Fear and the adrenaline rush of self-preservation can add intensity to a fight scene.

REVENGE
Revenge is a powerful motivator. Characters may seek vengeance for a perceived wrong or harm done to them or someone they care about. Revenge-driven fights can be emotionally charged and morally complex. Remember, however, how revenge makes a character appear.

IDEOLOGICAL CONFLICT
People often fight over differing beliefs, ideologies, or values. This can include political, religious, or philosophical disputes. Ideological conflicts can add depth to your story and explore complex themes. Make sure these ideologies are well explained before the fight.

COMPETITION
Competitions and tournaments often involve physical combat. Characters may fight for glory, honour, or to prove their skills or superiority. These fights can showcase character development and growth.

Competition can also be over resources, like access to food, water, a need to be richer than others (greed), or – unfortunately – the attention of others or access to them. If writing about competitions centred around greed, lust, or need for attention, you’ll want to also do some thinking about the mental issues or traumas that are driving it.

SURVIVAL
In extreme circumstances, characters may be forced to fight for essential resources like food, water, or shelter, as touched on under competitions. Survival-based fights can reveal the lengths characters will go to in dire situations. They can show what lengths a character is willing to go to survive or to procure resources so others can, which can tell the readers a lot about your characters.

PROTECTING OTHERS
Characters may engage in combat to protect vulnerable individuals, such as children, the elderly, or the weak. Or, they may be acting for the greater good of society, or the world! These fights highlight a character’s sense of duty or heroism. Don’t forget, a villain may be protecting others as well, it’s just that their willingness to go to extremes or cruelty defines it as something other than heroism.

MISUNDERSTANDINGS
Fights can arise due to misunderstandings, miscommunication, or mistaken identities. These fights can add elements of humor or tragedy to your story. A word of warning though, fights that happen because someone unrealistically held back information so your plot could continue how you wanted it to are weak writing. There are so many stories and movies out there written in a way where the conflict isn’t realistic because they sat on information any reasonable person would have brought up. Don’t do this. It makes your writing seem amateur and anyone with a bit of insight will see that you didn’t know how to build conflict or worse progress your story without forcing it to happen.

TRAINING AND DISCIPLINE
Characters who are warriors, martial artists, or soldiers may engage in sparring or combat as part of their training or discipline. These fights can showcase their skill development as well as be an excellent way to show characteristics about your character, like sportsmanship, how they react to losing, if they’re a graceful winner, if they approached this in good faith, etc.

IT’S THEIR JOB
Mercenaries, assassins, and soldiers fight because they’re being paid to follow orders (though there may be more complex reasons behind this, and certainly there tends to be). They may not agree with the reason they might fight of kill someone, but they’ll do it because that’s how they make ends meet, because they’re good at it and it’s morally easy for them, or because they’ve been ordered to. Think of the reasons why someone got into the business. For example, a soldier may be a soldier because the government will pay for their post-secondary education where they would never be able to afford otherwise. It’s a means to an end. A way of lifting themselves from poverty.

PSYCHOLOGICAL CONFLICT
Characters may face inner demons, or psychological battles that manifest as physical fights, representing their inner turmoil. These fights can be symbolic and reflective of the character’s growth or transformation. There are several conditions and situations where emotion may get the better of someone and cause them to break into a fight. Some people simply are built that way, and they never manage to learn the skills to control it. Others might have been raised in a tense environment where they witnessed violence – normalizing it – or were the victim of it, making them feel helpless and needing to show they are in control. Lack of a sense of control is a major reason for fights, same with needing to show they are dominant to help protect them from further threats, or sheer pride.

PACING AND TENSION
In general, you want to vary the pacing of your storytelling to create tension/excitement and lulls in between. For fight scenes, short, rapid sentences can convey urgency, while longer descriptions can slow things down for dramatic effect. For a fight scene, you can start slow with bigger words and longer sentences, but as the tension builds, the overall length of those words, sentences, and paragraphs should be reduced. Anger, fear, and fight, flight, and freeze responses are more basic, primal parts of us. Lizard brain, one could say. Tap into that. That said you will incorporate those longer sentences in the fight scene, just reduce them where you want to create urgency or tension.

Don’t forget to build anticipation before the fight and escalate the tension as the battle unfolds. A fight scene is like a mini climax in the story. Build up to it.

More information on pacing in general can be found here: Pacing – Measuring Time in Writing

Pacing is a critical element in writing fight scenes, as it can make the difference between an electrifying, edge-of-your-seat encounter and a lackluster skirmish. To master the art of pacing during fight scenes, consider the following strategies:

START SLOW AND BUILD
Begin the fight scene at a slower pace – not the fight itself, but the tension just before it happens. Use this time to establish the context, describe the combatants, and create a sense of anticipation. Allow tension to simmer as the characters size up their opponents and prepare for the impending conflict.

VARY SENTENCE LENGTHS
To increase the tempo, employ a mix of sentence lengths. Short, snappy sentences convey quick actions and heightened tension, while longer sentences can slow things down for reflection or description. Use sentence fragments sparingly for impact. Keep in mind though that there is a time and place for descriptions and fight scenes are typically not it. Use description strategically and limit only to what is needed to convey what is necessary. Also, getting into a lot of detail about how a person executes a maneuver won’t make them seem more adept at fighting. It may, however, destroy your scene.

Learn more about balancing description in a fight scene here: Balancing Action and Description in Fight Scenes

ACTION AND REACTION
Alternate between action and reaction sequences. Describe what each character is doing, followed by how they react to their opponent’s actions. This back-and-forth rhythm keeps readers engaged and allows them to follow the flow of the battle.

STRATEGIC PAUSES
If a fight scene isn’t going to be a quick spar, ending fairly quickly, you can employ brief pauses strategically to allow characters to assess the situation or exchange dialogue. These moments can reveal character motivations, add depth to the scene, or create tension. This can also give a character time to recover. Remember, fighting is a high energy engagement and the more fancy or florid the movements, the more energy they’re expending. The person expending the most energy may in fact lose due to exhaustion. Any professional fighter will tell you energy conservation is vital.

Keep in mind though that pauses and dialogue can very easily hurt your scene, just like excessive description.

BUILD TO CLIMAXES
Gradually escalate the intensity of the fight as it progresses. Each confrontation or exchange should feel more intense than the last. Reserve your most impactful moments and revelations for climactic points in the battle. Just be careful not to overdo it on character advancements in skill. Someone gets good at fighting because of practice, because it’s built into their instincts. Even those naturally adept are not going to rapidly improve. These things take years. You’re obviously going to want to show improvement, just manage your expectations or have a REALLY good reason why it’s going that fast. Having a character get really good really fast can be an obvious sign that you didn’t plan out your book well and are forcing it because of plot or word count restrictions.

KNOW WHEN TO END
Recognize when the fight has reached its natural conclusion. Avoid dragging out the scene beyond its dramatic purpose. After the climax, transition smoothly into the aftermath of the fight to address its consequences.

First things first, what sort of skill do these fighters have? While I’d recommend at least hinting that someone is a martial arts master, that can also be portrayed in fight scenes, taking both their opponent and the reader by surprise. Or maybe the first fight scene is the start of the book. However, otherwise, I’d recommend at least some foreshadowing.

Next things you’ll want to do is some research into a character’s fighting style. YouTube is a great resource for videos about martial arts, and police or military training. Utilize this by watching videos about that style. You can also search for things such as karate, how to break a neck hold, then choose videos. Watch the videos and they will often describe what they’re doing. Think about how you describe what you’re seeing and hearing in your own words, keeping details to a minimum.

Another consideration is what weapons they’re using, if any. For example, maybe they’re both wielding knives, swords, guns. You’ll also want to consider their skill level with those and how those are used by skilled fighters. That’s where those videos come in handy again. Then again, maybe they’re using improvised weapons, such as glasses they find on tables to smash into the face, or a nice cushy pillow to distract. Think about where those items are in your setting and plan to get the fighters to them some way or another.

Accuracy lends authenticity to your scene, even in a fantastical setting.

MAKE SURE YOUR OBJECTIVES ARE CLEAR
Define clear objectives for each character involved in the fight. What do they want to achieve? Understanding their goals helps structure the sequence of actions. What do you want to achieve? How does this progress the plot?

CONFLICT AND STAKES
Some point before the fight, unless it is the opening scene, the conflict should be foreshadowed, and the stakes should be clear. For example, letting the reader know there is an underlying tension between the characters that could one day get one of them fired. Create internal dilemmas for your characters during the fight. Do they prioritize their own safety, the safety of others, or their principles? Conflicting emotions add complexity to the scene.

If your opening scene is a fight scene, you still need to make these points clear during that scene. This is our introduction to the character, we’re going to want to invest in them right away.

BE AWARE OF WHAT WEAPONS ARE AVAILABLE TO THEM AND HOW THE ENVIRONMENT WILL COME INTO PLAY
It’s very possible that weapons won’t be involved but their surroundings definitely will. They may be in an open park, but maybe their foot slips on wet grass, their fall is cushioned by the earth, or maybe they strike their head on a concrete path. Is it daytime or night? Are there people around or not? These are details you’ll want to add to our fight scene.

PLAN TO SHOW VULNERABILITIES
Characters should not be invincible. Show their vulnerabilities, mistakes, and moments of weakness to make the fight relatable and suspenseful. On this note, unless the character is supremely overmatched (never has a chance of winning), show a back and forth of advantage and disadvantage in the fight. You should show times where the character is dominating and being dominated in the fight to keep up the tension of ‘who is going to win?”

Revealing vulnerabilities and weaknesses in your characters makes them relatable and makes their struggles more emotionally resonant.

PLAN TO BUILD MOMENTUM
With each fight, the difficulty should be harder. the stakes higher. But for longer fights, start with smaller, less impactful actions, and gradually escalate the intensity. This builds momentum and keeps the audience engaged. That said, for those larger fights that take longer, say open warfare on a field, incorporate moments of tension and release within the fight. Give the audience short breathers between intense sequences to maintain their interest.

USE A VARIETY OF MOVES AND STRATEGIES
You may not be a fighter or strategist at heart, but you have to write that fight scene! First recommendation I can give you is to watch some self-defense videos, or military training videos on YouTube. Tune in to an MMA fight or other professional sport, like competitive martial arts or wrestling. Do both. Watch carefully how they change things up as they try to confuse and overpower their opponents. Also watch how their opponents avoid (or don’t) the attack, how they got out of it, or how they reacted to the hit.

If you’re using weapons in the fight, which we’ll cover in another post, watch videos from people with understanding of those weapons.

Keep in mind that if you’re watching someone who advocates violence over prevention and protection, they are not professionals. Take their advice very carefully. Although, they can be an interesting study for a villainous character or someone with other serious issues.

Professionals will instruct someone to fight only when necessary, as a single blow can be unintentionally lethal (and…you know…laws). They’ll also show movements that minimize action and maximize power. Don’t trust someone who is showcasing showmanship over effectiveness. In a fight, one of the most important strategies you can have is to conserve energy. Fighting is exhausting and hard on the body and mind. Even where the intent is overwhelming force to win, unless the purpose is to kill, the fighter will stop when the other person can no longer fight or they surrender. When safety is achieved.

As for which fighting style is the best? That’s highly subjective. Every move has its pros and cons. Every sensei will be able to point out how their form can defeat another, while a sensei from that art could point out the same. Look into the tennents of each martial art (if that’s what you’re going for) and match them to your character’s personality.

UNDERSTAND THE EFFECTS OF IMPACTS AND WOUNDS
What you see in movies and video games is not realistic. For example, if someone is hit by a shockwave strong enough to throw them, they may not be getting up again. And if they do, they need to seek medical attention right away. Shockwaves can damage internal organs. A punch to the head? That person is likely to go down, have their jaw dislocated, or is going to have a concussion. One punch to the head can also be fatal, even unintentionally.

We’ll be writing another post for writing realistic injuries, but there are several books already on the market specifically for this. Alternately, medical videos describing injuries can be found from TikTok to YouTube. Or you can try your luck with AI, just fact check those answers.

Balancing action and description in fight scenes is important for maintaining the pacing, clarity, and engagement of the reader. It’s essential to strike a balance between the energy of the battle and sensory-rich descriptions that draw readers in. During a fight scene, you’ll need to choreograph physical movements and tactics and provide the reader with a visceral experience by evoking the sounds, smells, and emotions of the moment. A blend of action and descriptions can transport the reader into the fray, allowing them to feel the tension and adrenaline while maintaining a clear understanding of the unfolding events. When done skillfully, this balance enhances the overall impact of the fight scene and ensures that the action remains engaging and vivid throughout, leaving an impression on the reader.

PRIORITIZE CLARITY
Throughout your writing career, learning to make sentences and paragraphs clear and concise is essential. That’s not to say description doesn’t have its place, it definitely does, but it’s easy to get lost in adding unnecessary details. In fight scenes, this is even more important. Use precise language to describe movements, positions, and impacts.

Think about what your goal is, what you need to show through this fight, and stay very close to that. You can always go through a second time and add sensory details to make the scene more engaging.

Also keep in mind that often describing how someone executed a movement isn’t necessary. Restrict detailed descriptions of how a move was made to times when it’s absolutely needed. It’s not going to show the reader how skilled the fighter is. It’s going to come off as you showboating (look what I know!), and it will throw off the rhythm of the scene.

ACTIVE VOICE
In other posts we’ve talked about active voice vs. passive voice, but here are some examples:

Active: John read the book.

Active: John spoke at the conference.

Active: John threw the first punch.

Passive: The book was read by John.

Passive: The speaker at the conference was John.

Passive: The first punch was thrown by John.

While the general rule is to avoid passive voice where possible, this isn’t always possible. Nor should you try to make it possible. Just limit the use of passive voice when it’s feasible to do so. That said, active voice is even more important in fight scenes.

AVOID EXCESSIVE DETAIL
While description is important, avoid overwhelming readers with excessive detail. Focus on key actions and sensations that drive the narrative and character development. Reserve detailed descriptions for key moments, turning points, or emotionally charged sequences within the fight. Highlight the most impactful actions and decisions.

TIP: Choose details that enhance the reader’s understanding of the scene or contribute to character development. Avoid overloading the scene with minutiae.

EXAMPLE: Focus on describing the glint of a weapon or the intensity in a character’s eyes rather than a full inventory of their attire.

At the end of this section, I’ll provide an example of an unbalanced fight scene and a balanced one.

SHOW EMOTIONS AND THOUGHTS
We’ll cover this in a following section, but in case you’ve missed it you can scroll down or click here: Emotion and Fight Scenes: Conveying Tension and Intensity

BALANCE SHORT AND LONG SENTENCES
We’ve already covered this in a previous section, but in case you missed it you can scroll up or click here: Pacing During a Fight Scene

USE IMAGERY AND SENSORY DETAILS
Incorporate vivid imagery and sensory details to immerse readers in the fight. Describe the sights, sounds, and physical sensations experienced by the characters. Sensory details enhance the reader’s connection to the scene and provide a visceral experience. But, again, keep these descriptions concise. You can maximize description and conciseness by using strong words. For example, rather than someone running toward their opponent, they charged at them. Instead of describing blood in the mouth, you can mention the warm, coppery taste of blood. Convey the rush of adrenaline, the pounding of hearts, the grit of sweat, and the pain of blows.

Sprinkle this in like salt on your dinner. Just the right amount will enhance the flavour, but too much will ruin it.

USE BODY LANGUAGE
Describe the characters’ body language and non-verbal cues. Show clenched fists, rapid breathing, trembling, or other physical manifestations of tension.

  • Fatima’s knuckles turned white as she clenched her fists, determination etched across her face.
  • Raj’s shoulders slumped as fatigue took its toll, his movements growing sluggish.
  • George’s eyes narrowed, a wicked grin spreading across their lips as they sized up their opponent.
  • Mei’s brow furrowed in concentration as she assessed her adversary’s weaknesses.
  • Ahmed’s chest heaved with each breath, his broad chest rising and falling in rhythm with the intensity of the fight.
  • A bead of sweat trickled down Keisha’s temple, her face a mask of focus and unwavering resolve.
  • In a moment of hesitation, Jamal’s eyes flickered with doubt, giving his opponent an opening.
  • A shiver of anticipation ran down Priya’s spine as she readied herself for the clash, her muscles tensed and ready to strike.
  • Diego’s fists trembled with fear as he faced his first real combat situation, his wide eyes scanning for an escape route.
  • With a defiant toss of her hair, Aisha met her foe’s gaze head-on, her body language exuding confidence and fearlessness.

AN UNBALANCED FIGHT SCENE

In the dimly lit room, Mark and Carlos stood locked in a tense confrontation, their eyes ablaze with resentment and unresolved grievances. The air hung heavy with the electricity of their verbal exchanges.

Carlos’s voice dripped with disdain as he taunted Mark, his words sharp as shards of glass. “You’ve always been a coward, Mark. Running from your problems, just like you did with Sarah.”

Mark’s jaw clenched, and his eyes narrowed, revealing the barely contained anger coursing through him. “Don’t bring her into this, Carlos. This fight is between you and me.”

Carlos, undeterred, continued to provoke Mark. “Oh, it’s between us, all right. I’ve been waiting for this moment for a long time.”

Mark’s fists tightened, the knuckles whitening as he struggled to contain his mounting rage. The room seemed to shrink as the tension escalated, the stakes growing higher.

Mark launched the first strike, a powerful punch aimed at Carlos’s jaw. In a swift and graceful move, Carlos sidestepped the blow with the elegance of a practiced dancer. His retaliation was swift—a sweeping kick that caught Mark off guard. Mark stumbled, colliding with a nearby table. It tumbled over, its contents crashing to the floor in a cacophonous chorus.

Carlos’s taunt rang in the aftermath of the clash. “Clumsy as always, Mark.”

Mark gritted his teeth and pushed himself to his feet, pain coursing through his body. His every movement radiated frustration and determination.

AN EXAMPLE OF A BALANCED FIGHT SCENE

In the dimly lit room, Mark and Carlos faced off, their eyes locked in a charged showdown, years of animosity bubbling just beneath the surface.

“You’ve always been a coward, Mark. Running from your problems, just like you did with Sarah.” Carlos’s voice dripped with disdain.

Mark’s jaw tightened, his eyes sparking with anger. “Don’t you bring her into this, Carlos. This is between you and me.”

Carlos grinned. “Oh, it’s between us, all right. I’ve been waiting for this moment for a long time.”

Mark’s fists tightened, the knuckles whitening as he struggled to contain his mounting rage. The room seemed to shrink as the tension escalated, the stakes growing higher. Then, fury took hold. He launched a fierce punch toward Carlos’s jaw, but Carlos gracefully sidestepped, responding with a swift, sweeping kick that caught Mark off guard. Mark stumbled, crashing into a nearby table, sending it toppling with a deafening clatter.

“Clumsy as always, Mark.”

Mark gritted his teeth and pushed himself to his feet, pain coursing through his body.

Fight scenes are intense and there are intense emotions behind them. Show how the characters feel during the fight. Are they confident, terrified, determined, or conflicted? Use their inner thoughts, dialogue, and physical reactions to convey their emotional states.

Emotional beats provide depth and relatability to the combatants. Remember that tension and intensity in fight scenes are not just about physical action; they are about the emotional stakes and the characters’ inner struggles. By weaving these elements into your narrative, you can create fight scenes that resonate with readers on an emotional level.

Here are some examples of what people might be feeling, and what that might look like on the page:

Anger
In a whirlwind of rage, Marcus unleashed a series of brutal blows. They landed hard, fueled by the fury that had been simmering within him for years.

Cruelty
Blackthorn taunted Gregor with a cruel laugh, relishing in his suffering.

Desperation
In a final effort, Elena swung wildly, her movements born of sheer desperation.

Determination
Even as blood trickled down his brow, James gritted his teeth, determination shining in his eyes. Will unwavering, he fought on, refusing to yield.

Dominance
John’s confidence swelled with each successful strike, a smirk tugging at the corner of his lips as he asserted his dominance.

Ego-driven Power
With every successful strike, General Voss felt his ego swell, driving him to greater acts of brutality.

Envy
Envious, Xander struck down the lord of the house, determined not just to kill him but to take the wealth Xander had always been denied.

Elation
With each successful strike, a rush of elation coursed through Alice, a euphoric high that fueled her adrenaline and spurred her onward.

Fear
Sarah’s heart raced as the enemy closed in, fear gripping her like a vise. Her hands trembled on the hilt of her sword, uncertainty and dread clouding her thoughts.

Grief
Amidst the chaos of battle, Emily’s grief for her fallen comrades was a heavy burden.

Paranoia
Kalice watched their plans unravel, paranoia gripping them. The Risen were falling and without them, Kalice might as well be dead.

Malicious Satisfaction
Count Ravenvale’s malevolent grin grew wider as he cut deep into the warrior’s arm, rendering it useless.

Mania
Reverend Bloodmoon descended into a manic frenzy, his wild, unpredictable attacks a reflection of his deteriorating mind.

Regret
In the aftermath of the fight, a pang of regret washed over David. His victory soured with the realization that it had come at a heavy cost.

Resignation
Robert fought with a heavy heart, his movements sluggish with resignation as he faced inevitable defeat

While fight scenes are often intense and physically demanding, they can also be opportunities for character development and emotional expression. Here are some tips for crafting realistic dialogue in fight scenes:

USE SHORT AND STACCATO SENTENCES
During the heat of a fight, characters typically use short and direct sentences. Keep the dialogue concise to reflect the urgency of the situation.

“Stay down!”
“We need backup!”
“Hold the line!”
“Keep moving!”
“Cover me!”
“Stick together!”
“Enough!”
“Get off me”

“You again?”
“I’ve been looking forward to this.”
“You betrayed me.”
“I won’t back down.”
“This ends today.”
“Man, you suck.”
“No more lies.”
“You won’t survive this.”

However, be careful not to have your characters say things that no one would actually say just for the sake of drama.

EMOTIONAL OUTBURSTS
Characters may blurt out emotions, curses, or exclamations during a fight. Use these moments to convey their frustration, anger, fear, or determination.

TAUNTS AND PROVOCATIONS
Characters might use taunts or provocations to psych out their opponents. These can reveal their personalities and motivations.

  • “Your moves are like poetry…written by a toddler.”
  • “Why don’t you try a little harder? I’m falling asleep here.”
  • “If you were any slower, you’d be going backward.”
  • “Is that your fighting style or a dance routine?”
  • “You’re like a broken record – same old moves, same old outcome.”
  • “I’ve seen braver squirrels in my backyard.”
  • “I’d suggest a new career, but you’d probably fail at that too.”
  • “You must love losing, you’re so good at it.”
  • “Remember that time you won? Yeah, me neither.”
  • “You’re not even a warm-up, you’re just a stretch.”
  • “Did you learn to fight from a cereal box?”
  • “I bet you can’t even spell ‘victory,’ let alone achieve it.”
  • “You must have a degree in failure.”

INSTRUCTION AND STRATEGY
Characters may communicate tactical information or strategize with their allies during the fight. This can showcase teamwork and planning.

  • “Take the high ground and provide cover!”
  • “Stay in formation, shields up, and advance slowly.”
  • “Let’s focus on the archers first. Take them down quickly!”
  • “Cover me while I disable that turret.”
  • “Flank them from the left, I’ll draw their attention.”
  • “Hold the line here. We can’t let them break through.”
  • “Create a diversion to lure them away from the main group.”
  • “Stay close, watch each other’s backs, and move as one unit.”
  • “Get to higher ground for a better vantage point!”
  • “Coordinate your attacks and strike when I give the signal.”
  • “We need to regroup and rethink our approach.”
  • “Fall back and form a defensive circle!”
  • “Keep their attention on you; I’ll circle around and surprise them.”
  • “Use the terrain for cover and move quietly.”
  • “Stay in pairs and cover all angles.”
  • “Use hit-and-run tactics to wear them down.”
  • “Remember our training. Keep your discipline and stay focused.”
  • “Hold your ground while I go for reinforcements.”
  • “Get to cover and make them come to us.”
  • “We’ll draw them into the chokepoint, where they can’t flank us.”

CONSEQUENCES AND AFTERMATH
Once it’s done, address the consequences of the fight. How does it affect the characters and the plot moving forward? What emotional scars or growth result from the conflict? Explore the physical and emotional aftermath of the battle, as this can be just as compelling as the fight itself.

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Writing About Furs, Leathers, and Pelts? Read This!

The history of furs, leathers, and pelts is deeply ingrained in the evolution of our species. As early humans adapted to a warmer climate, the need for thick fur decreased, and being hairless provided advantages in endurance hunting and parasite control. Additionally, the use of clothing and shelters further reduced the dependence on body hair for thermoregulation.

Understanding this historical context is relevant for various reasons, including appreciating our evolutionary journey and the changes that shaped us as a species. Moreover, it sheds light on the development of human culture, intelligence, and technological advancements, such as the use of clothing for protection against the elements. Additionally, it’s essential to recognize the controversial nature of using furs, leathers, and pelts in modern times, as it sparks debates about ethics, sustainability, and animal welfare.

But who’s writing novels about prehistoric humans? Why do you need to know all about leathers, pelts, and furs?

Well, this might come in handy for authors writing historic, fantasy, or post-apocalyptic worlds where access to modern clothing isn’t available. Having some real knowledge about how leather is worked and maintained will give a character the appearance of expertise you can show rather than tell. Your armourer may be a master armourer, but if you only tell the reader that, it’s hollow.

Honestly, there are a lot of reasons why you might want this information, but if you’re here, you’re probably already aware of how it will benefit you. So, let’s get into it!

Get Around This Post

Related Posts

This area will fill in the more subjects we’re able to get to.

First Off, The Alternatives to Fur and Leather!

Faux fur and faux leather were invented as synthetic alternatives to real fur and leather. Today, both faux fur and faux leather are widely used, providing ethical and sustainable choices for people who wish to avoid animal-derived products. Advances in technology have allowed these synthetic materials to closely mimic the appearance and feel of their natural counterparts, making them increasingly popular in modern fashion and design.

FAUX FUR
Faux fur is a synthetic fabric meticulously crafted to replicate the appearance and feel of real fur without employing animal products. Depending on the animal being used, a real fur coat could require the lives of hundreds of animals to produce. Faux fur can be purchased in a variety of types that mimic many types of animals that would normally be used to make the product, though it tends to lack the same smoothness of real fur. Still, faux fur has a soft and plush texture that provides warmth and comfort. Another difference is that faux fur is slightly less effective with insulation than real fur. That said, it is not only cheaper and more durable, but also easier to care for.

Did you know? Both faux fur and real fur work best for insulation from freezing weather if worn with the furry side IN, not out. The tiny hairs trap body heat more effectively this way, keeping it warmer longer.

Faux fur has been around since the 1920s. The popularity of faux fur increased significantly during the 1970s and 1980s, driven by a growing awareness of animal rights issues and concerns about the ethical implications of using real fur in fashion.

DESCRIPTIVE WORDS
Appearance
Luxurious, Soft, Plush, Velvety, Furry, Fluffy, Shaggy, Sleek, Coarse, Tangled, Opulent, Natural, Untamed, Lustrous, Iridescent, Pelted, Mottled, Striped, Spotted, Dense.

Feel
Silky, Smooth, Cozy, Warm, Supple, Sensuous, Feathery, Hairy, Downy, Insulating, Cuddly, Fuzzy, Fluffy, Resilient, Nubby, Thick, Comfy, Suede-like, Silken, Pliable.

Smell
Earthy, Musky, Faintly-sweet, Wild, Fresh, Natural, Animalistic, Warm, Fragrant, Furry, Sensuous, Inviting, Rich, Pungent, Warm, Alluring, Woodsy, Aromatic, Rustic, Cozy.

Sounds
Rustling, Soft, Whispering, Hushed, Cozy, Muffled, Warm, Plush, Velvety, Fluffy, Cushioned, Padded, Gentle, Silky, Resilient, Calming, Swishing, Soothing, Inviting, Comforting.

FAUX LEATHER
Faux leather, also known as synthetic leather, vegan leather, or pleather, is a versatile fabric that mimics the appearance and texture of genuine leather. It is used in various fashion items like jackets, handbags, and shoes, as well as for cost-effective upholstery.

Although not as durable as real leather, faux leather is thinner, cheaper, easier to work with, and cruelty-free. However, it is more expensive than bonded leather, which is made of scrap leather adhered to a paper backing.

One advantage of faux leather is that it’s easier to care for compared to real leather, as it doesn’t absorb liquid as easily and is less susceptible to staining. Real leather requires regular treatment to prevent cracking.

The history of faux leather dates back to the late 19th century, but significant advancements came during World War II when researchers developed polyvinyl chloride (PVC) and polyurethane (PU) to create more convincing faux leather materials.

The commercial popularity of faux leather grew in the latter half of the 20th century due to concerns about animal welfare, environmental impact, and the demand for affordable leather alternatives.

DESCRIPTIVE WORDS
Appearance
Supple, Smooth, Textured, Rich, Lustrous,
Aged, Weathered, Distressed, Polished, Matte,
Shiny, Dark, Light, Mahogany, Tanned,
Oiled, Grainy, Worn, Vintage, Embossed.

Feel
Soft, Smooth, Silky, Plush, Velvety,
Pliable, Flexible, Supple, Velveteen, Slick,
Cool, Warm, Textured, Grainy, Buttery,
Nubby, Embossed, Waxy, Cushioned, Resilient.

Smell
Earthy, Musky, Rich, Pungent, Aromatic,
Smoky, Woody, Scented, Fresh, Vintage,
Tanned, Leather-bound, Distinctive, Faint,
Warm, Aged, Rustic, Alluring, Natural,
Luxurious.

Sounds
Creaking, Rustling, Crinkling, Squeaking, Supple,
Soft, Muffled, Thudding, Resilient, Dull,
Sturdy, Firm, Subtle, Resonant, Polished,
Vintage, Timeless, Muted, Rich, Aged.

A Little History About the Use of Furs and Leathers

Humans started wearing fur and using animal skins for clothing, shelter, and items like blankets during prehistoric times. This was a crucial development in human history and played a significant role in enabling our ancestors to thrive in challenging environments. Archaeological evidence shows the earliest evidence of humans using animal hides for clothing dates back tens of thousands of years to the Paleolithic era in the form of cave paintings, rock art, and ancient burial sites.

As humans developed more sophisticated techniques for hunting and processing animal hides, the use of furs and leather for clothing and other items became more widespread. Over time, innovations in tools and crafting techniques made production methods become more individualized depending on culture and needs dependent on the region these people lived in.

Furs: What You Might Want to Know for Your Novel

Fur, sourced from various animals, has been used throughout history for clothing, accessories, and shelters, providing protection in harsh climates and serving as camouflage for hunting. Initially, animals were hunted for multiple purposes, including fur, meat, bones, and organs. As technology progressed, the demand for fur alone led to the killing of animals specifically for their pelts, often resulting in overhunting and functional extinction of certain species.

During the 17th and 18th centuries, fur trade peaked, driving many species to functional extinction, where their populations reached critically low numbers, impacting ecosystems and risking true extinction. Efforts to control the fur industry and conservation initiatives have helped some species recover, but many, such as sea otters, European Beavers, Northern Fur Seals, American Bison, and Martens, faced serious threats due to overhunting.

In some cases, furs and leathers are obtained from animals that pose problems for human communities, like lions preying on settlements or wolves targeting farm animals. This creates a delicate balance between safeguarding human lives or livelihoods and conserving wild animal populations.

What Were the Benefits of Using Furs?

WARMTH
A very long time ago, of course we weren’t making clothing from anything but animal products. There was no textiles industry. Archaeological evidence suggests that humans began using plant materials, such as flax, hemp, and nettle, to create fabrics and woven textiles as far back as 30,000 to 40,000 years ago. These early textiles were likely simple and coarse, but they provided a viable alternative to fur for making clothing. Still, they would not have been as efficient at dealing with cold weather for a very long time still.

Keep in mind, not all historical use of furs was for clothing. It was also used for shelter and blankets as well as accessories.

Did you know? The best way to wear fur or faux fur is where the fur is touching your skin, not on the outside? This traps and insulates more body heat, keeping someone warmer.

MONEY
Throughout history, fur trading was a significant economic driver. The demand for fur garments and accessories drove exploration and trade between different regions and cultures. Fur trade routes played a crucial role in connecting distant societies and fostering cultural exchange. The demand for fur was such that a number of animals became functionally extinct due to hunting. This was previously discussed in more detail just before this section of the post.

The demand for furs in regions where they were scarce or not available led to long-distance trade networks and expeditions. Historically, fur trade routes were established, connecting regions with abundant fur-bearing animals to areas with high demand for fur clothing. This trade was instrumental in facilitating cultural exchange and economic growth.

Its impact on economics has been reduced with advancements in the textile industry.

CULTURAL / TRADITIONAL USE
In some cultures, fur clothing is an integral part of traditional attire and has been passed down through generations. Indigenous communities, such as the Inuit, Sami, and various Native American tribes, have incorporated fur into their traditional clothing as a way of preserving their cultural heritage. In some societies, fur clothing serves to express cultural identity and distinguish one group from another. It can also signify belonging to a particular tribe, community, or ethnic group.

RELIGIOUS AND SPIRITUAL USE
Fur plays a significant role in some religious or ceremonial practices. It might be used in special garments for rituals, initiations, or important ceremonies, symbolizing the connection to nature or ancestral spirits. Fur might also be used in sacred ceremonies to honor the animals or as an offering of gratitude.

STATUS … (the stupidest reason to kill animals)
Because furs could be hard to come by and produce into garments, especially when dealing with more exotic creatures, they were expensive. It should be noted that part of this could also be factors such as how many animals were lost to the creation of the garment. For example, a chinchilla coat can use 150-300 animal hides.

Additionally, certain furs had bans placed on them depending on a person’s status. Ermine fur, as an example, was banned for use by anyone but royals in medieval Europe. Ermine fur is the white winter coat of the stoat. These laws aimed to maintain social hierarchy and prevent lower classes from imitating the fashion and lifestyle of the nobility. Restricting ermine fur to royalty was part of these sumptuary laws.

Why is the Use of Real Fur Now Frowned Upon?

Modern ethical concerns about the use of furs stem from the treatment of animals involved in the fur industry. These concerns have led to growing opposition to furs and have prompted many individuals, organizations, and governments to act. Concern is also driven by the general lack of need for fur anymore. Most cultures have ready access to alternatives, though in some places there are other factors to consider including the price of imported goods for remote populations. Additionally, some cultures use furs and pelts because they are already hunting the animal for meat (see imported costs note and cultural traditions) and this allows them to use the entire animal, limiting waste and offering greater respect to the loss of life.

So, what are some of the issues around the fur industry?

TREATMENT OF ANIMALS / ANIMAL CRUELTY
One of the most significant ethical concerns is the treatment of animals raised and trapped for their fur. The fur industry is known for subjecting animals to inhumane practices, such as confining them in small, crowded cages with inadequate space to move, leading to stress, injuries, and psychological suffering. Many animals endure painful and distressing conditions throughout their lives until they are killed for their fur.

80% of fur products comes from fur farms. These farms breed and raise animals, such as minks, foxes, chinchillas, and raccoon dogs, solely for their fur. The conditions on fur farms often fall short of meeting the animals’ basic needs, and the methods used to kill the animals can be cruel, including gassing, neck-breaking, and electrocution.

TRAPPING AND HUNTING CONCERNS
In regions where trapping is still legal, wild animals are caught in traps to obtain their fur. Indiscriminate traps can cause immense suffering as animals may be trapped for extended periods before being found and killed by the trapper. Non-target animals, including endangered species and domestic pets, can also be caught in traps, leading to unintended harm. Additionally, over hunting has historically brought several species to functional extinction.

ENVIRONMENTAL CONCERNS
You may think the use of chemicals is limited to synthetic materials, but that’s not the case. The fur industry has a significant environmental impact, including water pollution from waste runoff on fur farms and the use of toxic chemicals in the processing of fur. Additionally, high demand for fur contributes to habitat destruction and pressures on wild animal populations.

As a result of these ethical concerns, there has been a global movement against the use of fur. Many countries have implemented fur bans or restrictions, and numerous fashion brands have committed to becoming fur-free, responding to consumer demands for more ethical and sustainable practices.

What Furs Are Used?

If it has fur and is larger than a mouse, there is probably someone using that fur. Below are some of the more common furs used in the fashion industry and others.

Bear
Beaver
Chinchilla
Coyote
Ermine
Fox
Lynx
Mink
Muskrat
Rabbit
Racoon
Wolf

Image credits: Chinchilla: Andy by Anderson Hay, Emine: Alaska Wildlife Alliance, Fox: Nature Canada Lynx: International Society for Endangered Animals (Canada), Muskrat: Live Science

How Is Fur Made into Fashion?

Historical Practices for Creating Furs

Step one is, of course, to procure the animal. This was typically done by hunting and trapping. Various types of traps were used to catch animals in the wild, including foothold traps, snares, and deadfalls.

SKINNING
Once the animals were caught, the next step was skinning them to remove their pelts. Hunters or furriers would carefully remove the skin from the animal’s body, making sure to preserve its integrity. This was often done by people who specialized in the practice.

Skills Required for Skinning Animals
Knife Handling: Skinning an animal required expertise in handling a sharp knife or cutting tool. The person performing the task needed to have precision and control to avoid damaging the fur and obtaining clean, intact pelts.

Knowledge of Anatomy: Understanding the anatomy of the animal was crucial for efficient skinning. Knowledge of the location and structure of muscles, bones, and joints helped in making precise incisions and minimizing waste.

Patience and Dexterity: Skinning an animal is a delicate and time-consuming process. Skilled skinners possessed patience and dexterity to work methodically, ensuring that they removed the fur without damaging the pelt.

Tools Required for Skinning Animals
Skinning (Flaying) Knife: A specialized skinning knife was the primary tool used to remove the animal’s pelt. The knife had a sharp, narrow blade designed to make clean and precise cuts through the skin. In earlier times, this could be shipped rock, for example shale, or obsidian glass. There are specific techniques to creating tools from these materials. If you’re interested, head to this video to learn how it was done: Making a Stone Knife from Start to Finish (51:32). These knives had a curved, hook-like blade, which helped in gripping the skin for better control during the process. They could look wildly different depending on the region producing them, so I recommend going to Google to search if you need to describe the look.

Fleshing Knife: After removing the pelt, a fleshing knife might have been used to clean the inner side of the skin by scraping away any remaining flesh, fat, or membrane.

CLEANING, DRYING, AND STRETCHING
Cleaning furs historically involved several steps to remove dirt, oils, and other impurities from the pelts, ensuring they remained in good condition. While the exact methods varied across cultures and time periods, the general process typically involved the following:

Shaking and Brushing: After the animal was skinned and the pelt was removed, the furrier or fur processor would shake the pelt gently to dislodge any loose dirt or debris. Then, they would use a specialized fur brush to gently remove surface dust and dirt from the fur.

Air Drying: The freshly removed pelt would be left to air dry in a cool and well-ventilated area. This allowed any moisture or remaining fluids from the skinning process to evaporate. Proper drying was crucial to prevent the growth of bacteria or mold, which could damage the fur or pelt.

Sanding or Scraping: For particularly soiled or greasy pelts, furriers might use a gentle sanding technique to remove surface stains or oily residue. Alternatively, a scraping method with a blunt-edged tool, such as a fleshing knife, could be employed to remove any remaining flesh or fats.

Dusting with Talcum Powder: Talcum powder or a similar fine powder was sometimes dusted onto the fur to help absorb excess oil and moisture. The powder was left on the fur for a brief period before being gently shaken or brushed off.

Dry Cleaning: In some cases, dry cleaning methods were used, involving the use of materials like fuller’s earth, cornmeal, bran, sawdust, magnesium carbonate, or benzene to clean the fur without using water. Dry cleaning was preferred for delicate furs that might be damaged by traditional washing.

Re-Brushing: Once the fur was fully dry and cleaned, it was brushed again to restore its softness and appearance. Brushing also helped to realign the fur fibers and remove any remaining impurities.

After skinning and cleaning, the pelts were stretched on wooden boards or frames to maintain their shape and size during the drying process.

TANNING
To make the fur soft and pliable, pelts were tanned using various natural substances like plant extracts. Tanning also helped to improve the fur’s durability. While the substances used depended on region, availability, and other factors, here are some examples of tanning processes and materials:

Oak Bark: Oak bark was one of the most widely used sources of tannins. The bark of oak trees contains high levels of tannins, making it effective for preserving and tanning animal pelts.

Hemlock Bark: Hemlock bark was another common source of tannins used in historical tanning processes. It was often used for tanning heavier hides from larger animals.

Other Plant Sources: Various other plant materials containing tannins were also utilized in historical vegetable tanning. This included chestnut, mimosa, quebracho, and other barks, leaves, and roots with high tannin content. Vegetable tanning was a labor-intensive process that required time and skill.

Animal Brains: Sometimes these were used as a source of natural oils and emulsifiers. This helps make the skin the fur was attached to softer and improved its texture. Not sure I want to know how they discovered this.

Urine: Urine is high in ammonia which has alkaline properties that aided in the tanning process. This wasn’t used by all cultures, but it was one way of doing this and was cheap and readily available.

PRESERVATION AND CARE
After an item was made from fur, proper preservation was essential. Preservation aimed to protect furs from deterioration, pests, and environmental factors. Lack of care or preservation could result in matting of the hair – which reduces its ability to keep heat – odors, fading, mold and decay, bacteria in high humidity, pests such as moths, lice, etc., loss of shape, and more.

So, what needed (and needs) to be done to keep furs?

Storage in Cool and Dry Places: Furs were stored in cool, dry environments to prevent mold growth and decay. Special storage areas, like fur vaults or fur rooms, were often used by people able to afford them to maintain the appropriate temperature and humidity levels.

Air Circulation: Proper air circulation was crucial to prevent the build-up of moisture and odors. Furs were stored with enough space around them to allow air to circulate freely.

Protection from Moths and Pests: Furs were vulnerable to damage from moths and other pests, which could eat away at the fur fibers. Cedar wood or mothballs were commonly used to deter pests and protect furs in storage.

Avoiding Direct Sunlight: Exposure to direct sunlight could fade and damage fur over time. Furs were kept away from sunlight to maintain their color and quality.

Regular Cleaning: Furs were periodically cleaned to remove surface dust and dirt. Special fur brushes or fur cleaning tools were used to gently brush the fur fibers and keep them clean and presentable.

Conditioning with Oils: Furs were occasionally conditioned with natural oils such as neatsfoot oil or fish oil to keep the fur fibers soft, supple, and hydrated.

Repair and Maintenance: If a fur garment or item showed signs of wear or damage, skilled furriers would perform repairs and maintenance. This could involve replacing worn fur patches or fixing damaged seams.

Avoiding Excessive Handling: Excessive handling could cause undue stress on the fur fibers, leading to premature wear. Furs were handled with care to minimize damage.

Seasonal Storage: During the warmer months, furs might have been stored in a furrier’s care, where they could receive professional maintenance and protection from pests and heat.

How Modern Fur Production Changed Traditional Production

There’s a lot less chance you’re going to get into talking about how modern-day furs are made, so I’m going to keep this section as brief as possible.

Modern technology significantly improves the process of making furs. This is how:

Fur Farming
Modern fur farming involves advancements in animal husbandry, nutrition, and breeding practices. Controlled environments with regulated temperature, lighting, and feeding schedules promote healthier and more uniform fur-bearing animals. Improved breeding techniques lead to animals with desirable fur qualities. Note, that this is not always beneficial to the animal if they’re not under human care. For example, sheep were bred to have thicker coats. Should a sheep get out, it will continue to grow wool in a harmful way. Shrek, a Merino sheep from New Zealand, was missing for 6 years. He was found in a cave with 60lbs of wool on him. This would have made it hard for the sheep to move around and regulate heat.

Modern fur production places greater emphasis on sustainable and ethical practices. Fur farms and processing facilities often comply with regulations to minimize environmental impact and ensure responsible animal treatment. Tracing is also now available so people can more easily ensure regulations are being followed regarding production and ethical treatment of animals.

Shearing and Cutting
Modern cutting machines can shear fur pelts more precisely and uniformly, resulting in even fur lengths and thickness. This level of precision was challenging to achieve using traditional hand tools.

Processing and Tanning
Modern fur processing facilities use sophisticated machinery and equipment to clean, tan, and finish fur pelts. Automated systems ensure consistent and efficient tanning, reducing processing times and human labor.

Cleaning and Dyeing
Advanced cleaning and dyeing methods ensure that fur fibers are thoroughly cleaned and dyed evenly. These technologies allow for a wide range of colors and patterns to be achieved on fur garments.

Leather: Facts You Might Want to Know for Your Novel

Humans started using leather very early in our history. The use of leather is closely linked to the development of hunting and the discovery of animal hides as a versatile and durable material. Leather is made from the skin of animals, most commonly cows. It is renowned for its strength and longevity. It has been used historically not only for clothing, but armour, accessories, shelters, and more. In many cases, the animal’s meat, bones, and organs were also utilized to reduce waste. In modern times, these by products are often used for other purposes such as animal feed. Predator animals hunted for leathers, such as alligators and crocodiles, have less palpable meat as well.

Just like furs, demand for leather through the ages was so intense at times that trade in it became an economic driver, leading to functional extinction of several animals.

What Are the Benefits of Using Leather?

Humans have used leather for more than just clothing. Leather was also used to protect the feet (shoes), for protection (armour), for bags and containers, belts and other accessories, furniture, bookbinding, horse tack, equipment such as scabbards and quivers, musical instruments, sports, and even binding components of weaponry. Moreso, it could be and was used for insulation in some places, tents and portable shelters, coverings, and curtains. Yeah, so we use and did use leather for a LOT of things.

Leather is a renewable resource when managed correctly and is both extremely durable and versatile. Like furs, leather has played a significant role in human history and culture, serving various purposes beyond its practical uses.

WARMTH
Leather, similar to furs, provided warmth and protection from the elements. Leather clothing, such as jackets, coats, and boots, acted as effective insulators, making it a valuable material for people living in colder climates.

ECONOMICS
The leather industry has been an essential economic driver in many societies throughout history. Leatherworking provided employment for skilled craftsmen, tanners, and artisans. The trade and export of leather and leather goods have been significant contributors to local and international trade. Considering the wide applications for leather, you could imagine just how much was needed historically to keep up with demand.

CULTURAL AND TRADITIONAL USE
Leather has deep cultural and traditional significance in various societies. It has been used in traditional clothing, footwear, and accessories, representing cultural identities and heritage. Examples of this include indigenous regalia around the globe.

RELIGIOUS AND SPIRITUAL USE
In some cultures, leather holds religious or spiritual significance. Leather has been used in religious ceremonies, rituals, and symbolic artifacts. Examples of this would include ritual artifacts and garments, binding of religious scriptures, and shamanic practices.

STATUS … (again, the stupidest reason for things to die)
Similar to furs, leather has been associated with luxury and status. Throughout history, high-quality leather goods, such as fine leather clothing, shoes, and accessories, were often reserved for the wealthy and elite classes, symbolizing wealth and prestige.

Is There Controversy Over the Use of Leathers Now?

The increasing availability of modern alternatives that don’t involve keeping animals captive and slaughtered for their skin has raised concerns about the continued use of leather, similar to the concerns over fur that were discussed earlier.

However, compared to the fur industry, the leather industry is generally considered less wasteful. This is partly due to the leather industry’s utilization of by-products from the meat industry. Leather is primarily made from the hides of animals raised for meat consumption, reducing waste and maximizing the use of the entire animal. This resource efficiency makes the leather industry more environmentally friendly. Additionally, leather is more versatile than fur, and its manufacturing process is more efficient, requiring less water, energy, and generating less waste.

In certain regions, leathers and furs are obtained from animals that can pose problems for human communities, like lions preying on settlements or wolves targeting farm animals. This situation forces these communities to carefully balance the conservation of their lives or livelihoods with the conservation of wild animal populations.

What Leathers Are Used?

Alligator/Crocodile
Calfskin
Cowhide
Lambskin
Pigskin
Sheepskin

Other leathers include buffalo, camel, deer, elk, fish, goat, horse, kangaroo, ostrich, reptile, and stingray.

How Is Leather Made into Fashion?

Historical Practices for Creating Leather

Many of the steps below are the same as those for fur, though the processes for leather are more streamlined. Historically, there were several professions within the leatherworkers including tanners, curriers, cordwainers, saddlers, cobblers, glovers, and parchmenters.

Step one is, of course, to procure the animal. This was typically done by hunting and trapping. Various types of traps were used to catch animals in the wild, including foothold traps, snares, and deadfalls.

SKINNING
Once the animals were caught, the next step was skinning them to remove their pelts. Hunters or furriers would carefully remove the skin from the animal’s body, making sure to preserve its integrity. This was often done by people who specialized in the practice.

Skills Required for Skinning Animals
Knife Handling: Skinning an animal required expertise in handling a sharp knife or cutting tool. The person performing the task needed to have precision and control to avoid damaging the fur and obtaining clean, intact pelts.

Knowledge of Anatomy: Understanding the anatomy of the animal was crucial for efficient skinning. Knowledge of the location and structure of muscles, bones, and joints helped in making precise incisions and minimizing waste.

Patience and Dexterity: Skinning an animal is a delicate and time-consuming process. Skilled skinners possessed patience and dexterity to work methodically, ensuring that they removed the fur without damaging the pelt.

Tools Required for Skinning Animals
Skinning (Flaying) Knife: A specialized skinning knife was the primary tool used to remove the animal’s pelt. The knife had a sharp, narrow blade designed to make clean and precise cuts through the skin. In earlier times, this could be shipped rock, for example shale, or obsidian glass. There are specific techniques to creating tools from these materials. If you’re interested, head to this video to learn how it was done: Making a Stone Knife from Start to Finish (51:32). These knives had a curved, hook-like blade, which helped in gripping the skin for better control during the process. They could look wildly different depending on the region producing them, so I recommend going to Google to search if you need to describe the look.

Fleshing Knife: After removing the pelt, a fleshing knife might have been used to clean the inner side of the skin by scraping away any remaining flesh, fat, or membrane.

WASHING AND SOAKING
The cleaned hides were then washed and soaked in water to remove impurities. Soaking also helped to hydrate the hides, making them more pliable and ready for further processing.

DEHAIRING
Some leather types, like goatskin or sheepskin, required additional dehairing to remove any residual hair or wool. This was typically done using lime or other chemicals to loosen and dissolve the hair or wool from the hide.

DRYING
After cleaning and dehairing when necessary, the wet leather was stretched and hung up to dry in a shaded, well-ventilated area. Care was taken not to dry the leather too quickly, as rapid drying could cause it to become stiff and lose its flexibility.

SOFTENING
Once the leather was dry, it needed to be softened before further processing. Leatherworkers would often knead and flex the dried leather or use a process called “fat liquoring,” where oils, fats, or animal brains were applied to restore flexibility and suppleness.

TANNING
To make the fur soft and pliable, pelts were tanned using various natural substances like plant extracts. Tanning also helped to improve the fur’s durability. While the substances used depended on region, availability, and other factors, here are some examples of tanning processes and materials:

Oak Bark: Oak bark was one of the most widely used sources of tannins. The bark of oak trees contains high levels of tannins, making it effective for preserving and tanning animal pelts.

Hemlock Bark: Hemlock bark was another common source of tannins used in historical tanning processes. It was often used for tanning heavier hides from larger animals.

Other Plant Sources: Various other plant materials containing tannins were also utilized in historical vegetable tanning. This included chestnut, mimosa, quebracho, and other barks, leaves, and roots with high tannin content. Vegetable tanning was a labor-intensive process that required time and skill.

Animal Brains: Sometimes these were used as a source of natural oils and emulsifiers. This helps make the skin the fur was attached to softer and improved its texture. Not sure I want to know how they discovered this.

Urine: Urine is high in ammonia which has alkaline properties that aided in the tanning process. This wasn’t used by all cultures, but it was one way of doing this and was cheap and readily available.

STRETCHING
After tanning, the leather was typically stretched manually to ensure an even thickness and smooth surface. This could be done by pulling the leather over a frame or stretching it by hand.

EMBOSSING OR LEATHER BURNING
Durin or after the creation of a product made from leather, it might be imprinted or burned to create intricate patterns, textures, and decorative elements. These techniques enhance the visual appeal and value of leather products. Let’s take a look at what this entails.

Embossing and Stamping

  • Embossing: Embossing is a technique where a design is pressed or raised onto the surface of the leather. A metal or wooden stamp, known as an embossing or die stamp, is heated then pressed onto the leather with force. The heat and pressure transfer the design onto the leather, creating a raised pattern.
  • Stamping: Stamping is a similar process to embossing but does not involve heat. Stamping tools with intricate designs or patterns are pressed onto damp leather to create impressions. Stamping can be done manually or with the assistance of a machine for more uniform results.

Both embossing and stamping are commonly used in the production of leather accessories, belts, wallets, handbags, and leather furniture. They add texture and visual interest to the leather, making it more appealing and distinctive.

Leather Burning or Pyrography

  • Leather burning, also known as pyrography, is the art of creating designs on leather by burning the surface with a heated metal tool. The heated tool, often called a pyrography pen or soldering iron, is used to draw or trace designs onto the leather. The heat sears the leather, leaving behind darkened lines or patterns.

DYEING LEATHER

Leather dyeing was a process that relied on natural materials and traditional techniques. Different cultures and time periods used various methods and dyes to color leather, but here is a general overview.

Historically, dyes were derived from natural sources, such as plants, roots, flowers, insects, and minerals. Below are examples of natural dyes used to dye leather or cloth. Note that naturals dyes were dependent on what was available in the area or through trade (more expensive). In some cases, use of certain colours were restricted to certain classes throughout history and also dependent on region. Also note that different sources provide different shades of that colour.

Black (Grey)
Black Beans – Plant / Plant Matter
Ebony Leaves – Plant / Plant Matter
Iris Roots – Plant / Plant Matter
Oak Galls – Plant / Plant Matter
Sumac Leaves – Plant / Plant Matter
Walnut Hulls – Plant / Plant Matter

Carbon – Minerals/Metals
Titanium – Minerals/Metals

Blue and Bluish Purple
Black Beans – Plant / Plant Matter
Blueberries – Plant / Plant Matter
Cornflower – Plant / Plant Matter
Dogwood Fruit – Plant / Plant Matter
Elderberries – Plant / Plant Matter
Hyacinth Flowers – Plant / Plant Matter
Indigo Foliage – Plant / Plant Matter
Mulberries – Plant / Plant Matter
Red Maple Bark – Plant / Plant Matter
Woad Leaves – Plant / Plant Matter

Azurite – Minerals/Metals
Calcantite – Minerals/Metals
Cobalt – Minerals/Metals
Copper – Minerals/Metals
Lapis Lazuli – Minerals/Metals

Murex Snails – Insects

Brown
Birch Bark – Plant / Plant Matter
Brown Clay – Plant / Plant Matter
Coffee Beans – Plant / Plant Matter
Cutch Bark – Plant / Plant Matter
Dandelion Roots – Plant / Plant Matter
Eucalyptus Leaves – Plant / Plant Matter
Fern – Plant / Plant Matter
Golden Rod – Plant / Plant Matter
Henna – Plant / Plant Matter
Ivy Stems – Plant / Plant Matter
Limonite Clay – Plant / Plant Matter
Mangosteen Peel – Plant / Plant Matter
Oak Bark – Plant / Plant Matter
Sumac Leaves – Plant / Plant Matter
Tea Leaves – Plant / Plant Matter
Walnut Hulls – Plant / Plant Matter
Yellow Dock – Plant / Plant Matter

Cuttlefish Ink – Animal
Octopus Ink – Animal

GREEN
Black-Eyed Susan Flowers – Plant / Plant Matter
Buckthorn Berries – Plant / Plant Matter
Chamomile Leaves – Plant / Plant Matter
Dyer’s Broom – Plant / Plant Matter
Larkspur – Plant / Plant Matter
Mangosteen Peel – Plant / Plant Matter
Nettle Leaves – Plant / Plant Matter
Red Onion Skins – Plant / Plant Matter
Spinach – Plant / Plant Matter
Tea Tree Flowers – Plant / Plant Matter
Yarrow – Plant / Plant Matter
Yerba Mate – Plant / Plant Matter

Chromium – Minerals/Metals
Malaquit – Minerals/Metals

Orange
Barberry – Plant / Plant Matter
Bloodroot – Plant / Plant Matter
Brown Onion Skins – Plant / Plant Matter
Eucalyptus Leaves – Plant / Plant Matter
Giant Coreopsis – Plant / Plant Matter
Henna – Plant / Plant Matter
Pomegranate – Plant / Plant Matter
Safflower – Plant / Plant Matter
Sappanwood – Plant / Plant Matter
Turmeric – Plant / Plant Matter

Pink and Pinkish Purple
Alkanet Root – Plant / Plant Matter
Avocado Fruit – Plant / Plant Matter
Cherries – Plant / Plant Matter
Day Lilies – Plant / Plant Matter
Lichens – Plant / Plant Matter
Red Basil – Plant / Plant Matter
Roses – Plant / Plant Matter
White Bedstraw – Plant / Plant Matter

Lac – Insect

Purple
See Pink and Blue As Well

Blackberries – Plant /Plant Matter
Logwood – Plant /Plant Matter
Mangosteen Peel – Plant /Plant Matter

Red
Avocado Pits – Plant / Plant Matter
Beetroot – Plant / Plant Matter
Blackberries – Plant / Plant Matter
Brazil Wood – Plant / Plant Matter
Chestnut Oak – Plant / Plant Matter
Day Lilies – Plant / Plant Matter
Hibiscus Flowers – Plant / Plant Matter
Katuray – Plant / Plant Matter
Madder Roots – Plant / Plant Matter
Mangosteen Peel – Plant / Plant Matter
Quebracho Bark – Plant / Plant Matter
Red Basil – Plant / Plant Matter
Red Elderberries – Plant / Plant Matter
Sappanwood – Plant / Plant Matter
St. John’s Wort – Plant / Plant Matter
Sumac Berries – Plant / Plant Matter
Sycamore Bark – Plant / Plant Matter

Cochineal – Insect
Lac – Insect

Cadmium – Minerals/Metals
Cinabrium – Minerals/Metals
Hematite – Minerals/Metals
Realgar – Minerals/Metals
Vermilion – Minerals/Metals

Yellow
Annatto – Plant / Plant Matter
Avocado Leaves – Plant / Plant Matter
Bay Leaves – Plant / Plant Matter
Brown Onion Skins – Plant / Plant Matter
Cutch Bark – Plant / Plant Matter
Daffodil – Plant / Plant Matter
Elder Leaves – Plant / Plant Matter
Fusticwood – Plant / Plant Matter
Gamboge Resin – Plant / Plant Matter
Gorse – Plant / Plant Matter
Goldenrod – Plant / Plant Matter
Henna – Plant / Plant Matter
Himalayan Rhubarb – Plant / Plant Matter
Kamala Seed Pods – Plant / Plant Matter
Larkspur – Plant / Plant Matter
Marigolds – Plant / Plant Matter
Osage Orange Bark – Plant / Plant Matter
Pomegranate – Plant / Plant Matter
Queen Anne’s Lace – Plant / Plant Matter
Safflower – Plant / Plant Matter
Saffron Stamens – Plant / Plant Matter
St. John’s Wort – Plant / Plant Matter
Tea Leaves – Plant / Plant Matter
Turmeric – Plant / Plant Matter
Weld – Plant / Plant Matter

Cow Urine – Animal

Chromium – Minerals/Metals
Lead – Minerals/Metals
Titanium – Minerals/Metals

The Dyeing Process
The main difference between dyeing cloth and dyeing leather with natural dyes is in the preparation and treatment of the materials. Leather requires special processing to open its fibers for better dye penetration, and certain natural dyes might work differently on leather compared to textiles. Additionally, the dyeing process on leather can require additional steps to ensure colorfastness and durability.

The dyeing process typically began after the leather had been tanned and dried. The leather was cleaned and sometimes lightly sanded to remove any impurities or previous finishes. To enhance colorfastness and ensure the dye adhered to the leather, mordants were often used. Mordants are substances that help fix the dye to the leather fibers. Common mordants included alum, iron salts, and tannins.

Dye Application: The leather was immersed in a dye bath containing the chosen natural dye, along with water and mordants. Some dyes required heat to facilitate dye absorption. The leather was left in the dye bath for a specific period, allowing the dye to penetrate the leather fibers. Achieving the desired color intensity often required multiple rounds of dyeing, with the leather being allowed to dry and then redyed as needed.

Natural Finishes: After dyeing, the leather might be polished or buffed to achieve a smooth finish. Natural oils or waxes, such as beeswax or animal fats, were sometimes applied to the leather to enhance its luster and protect it from water and wear.

PRESERVATION AND CARE OF LEATHER

Historically, leather preservation and care were crucial to maintain the quality and longevity of leather products. Proper care helped prevent the leather from becoming dry, brittle, and prone to damage. Leather preservation and care were labor-intensive processes, often requiring the skill of experienced leatherworkers and artisans. Leather items were valued possessions, and proper care ensured that they remained in excellent condition, even with regular use and exposure to the elements. Many of these historical preservation and care practices continue to be relevant today, though modern technology and innovations have introduced additional methods and products for maintaining and caring for leather goods.

Here are some common historical methods used to preserve and care for leather:

Oiling and Greasing: Animal fats, such as tallow or neatsfoot oil, were frequently used to condition and moisturize leather. Leather items, such as boots, saddles, and harnesses, were coated with these oils to replenish the natural oils lost during tanning and to keep the leather soft and supple.

Waxing: Beeswax or other natural waxes were applied to leather to create a protective barrier and enhance water resistance. This was particularly important for leather goods exposed to moisture, such as outdoor footwear and saddlery.

Smoothing and Polishing: Leather items were often buffed and polished using soft cloths to achieve a smooth, glossy surface. Polishing not only improved the appearance but also helped seal the surface and enhance durability.

Storing in Cool, Dry Places: Proper storage was essential to prevent mold and mildew growth on leather items. Leather goods were kept in cool, dry areas, away from direct sunlight and excessive humidity.

Avoiding Exposure to Water: Leather was carefully protected from prolonged exposure to water, as it could cause the leather to shrink, warp, and lose its original shape.

Avoiding Heat: Leather was kept away from direct heat sources, as excessive heat could lead to cracking and drying out of the leather.

Dusting and Cleaning: Regular dusting and gentle cleaning were performed to remove surface dirt and debris. Dusting was usually done using soft brushes or cloths to avoid scratching the leather.

Repairing and Patching: When leather items developed tears, scratches, or wear, they were often repaired or patched to extend their lifespan.

Reconditioning and Redressing: Leather items that had become stiff or dried out were often reconditioned using oils, fats, or waxes to restore their flexibility and softness.

Periodic Re-Tanning: In some cases, leather items were re-tanned to restore their color and improve their quality. This process involved soaking the leather in tannins or other tanning agents to improve its appearance and durability.

How Modern Leather Production Changed Traditional Production

A lot has changed since historical times, and leatherworking is no exception. So, what has changed?

SCALE AND INDUSTRIALIZATION
Traditional leather production was often carried out on a small scale and relied heavily on manual labor and craftsmanship. In contrast, modern leather production is highly industrialized, with large-scale tanneries and automated machinery. This allows for higher production volumes, faster processing times, and standardized quality control.

PROCESSING TECHNOLOGIES
Modern leather production employs advanced processing technologies that have revolutionized the tanning process. Tanneries now use advanced tanning agents and chemical treatments to achieve consistent and predictable results. These techniques have reduced the time required for tanning and improved the overall quality and uniformity of the leather.

SUSTAINABILITY AND EVIRONMENTAL CONCERNS
With growing environmental awareness, modern leather production has made strides toward more sustainable practices. Tanneries have implemented water recycling systems to reduce water consumption, and some have adopted chrome-free tanning processes to minimize environmental impact.

BY-PRODUCT USE
Modern leather production often utilizes by-products from the meat industry, making it a more efficient and sustainable process. Hides from animals raised for meat consumption are used for leather production, minimizing waste and maximizing resource utilization.

MASS PRODUCTION AND STANDARIZATION
Traditional leatherworking involved handcrafting and variations in the final product. In modern production, mass production techniques have been adopted to create standardized leather goods. This allows for greater consistency in products, making it easier to meet market demands and specifications.

SPECIALIZED LEATHER
Modern leather production has introduced specialized leather types and finishes to cater to various industries and consumer preferences. Different techniques, like embossing, bonding, and printing, allow for the creation of a wide range of leather textures and appearances.

Suede

Suede is a type of leather known for its soft and velvety texture. It is made from the underside of animal hides, providing a unique surface with a napped finish. Suede fabric has a luxurious feel and a distinctive look. Like leather, it is highly durable and can withstand regular use. Suede is commonly used in the production of jackets, coats, skirts, and handbags, as well as footwear. Additionally, suede is used in upholstery.

Pelts. How is This Not Under Furs or Leather?

Leather, fur, and pelts are derived from animal hides, but they undergo different processes and serve distinct purposes in various industries. Pelts refer to the raw, untreated animal skins or hides. They are the unprocessed and untanned skins of animals, often with the fur or hair still intact.

Pelts are not tanned or processed beyond basic preservation measures, such as salting or freezing to prevent decay until they can be further processed for fur production.

SITE BROUGHT TO YOU BY

SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

a man sitting cross legged on the ground with the words "all shapes and sizes" written off to the left. That neckline of his t-shirt is almost comically low

Describe It: Body Shapes and Weight

GET AROUND THIS POST:

INTRODUCTION TO WRITING ABOUT BODIES

In this post we talk about bodies in general. Other posts will be dedicated to specific areas of the body.

Though descriptions of bodies tend to be short, it can be important to get it right when you want to relay your vision of a character. Keep in mind though, don’t get too into descriptions for main characters. Allow the reader to fill in blanks so they can best relate to the character.

It’s also important to acknowledge our role in how we portray the world. You might be writing something you’re passionate about and want to portray in idealized ways, but it can be easy to forget we shape worlds not only the ones we’re writing but the real one as well.

Repetition is how humans learn best. That works both in our favour and not. For example, repetition that only ‘idealized’ bodies are healthy or attractive is detrimental to pretty much everyone. Especially when you consider that what is considered healthy and attractive changes with time and location.

1960-70 Twiggy
Italian Renaissance
1890 Exotic Dancer
1500 Michelangelo’s David
1970s John Travolta
2010s East Asian

Read: Can You Repeat That? How Repetition Enhances Learning

Read: The effects of repetition frequency on the illusory truth effect (scientific paper)

Read: Beauty Standards: See How Body Types Change Through History

Read: Impact of weight stigma on physiological and psychological health outcomes for overweight and obese adults: A systematic review (scientific paper)

It’s important to note that portraying diverse body types or people with extra weight in a positive light does not promote unhealthy lifestyles, if that is a concern of yours. In fact, it’s quite the opposite. Portraying body types negatively increases targeted people’s shame and guilt, diminishes self-esteem and self-worth, and increases depression. Depression is a major factor in weight gain, though certainly not the only major factor.

If weight were as simple as it has historically been made out to be, everyone could change their weight to their ideal with diet and exercise and all that would be needed is willpower and a desire to change. The fact for most people to achieve goals they need to be in a positive mindset that allows for learning and change, feel welcome in places they can make that change (such as gyms and in gym clothes), and need confidence in themselves to do it. Shame and guilt from belittling doesn’t achieve this.

Read: The Impact of Shame, Self-Criticism and Social Rank on Eating Behaviours in Overweight and Obese Women Participating in a Weight Management Programme (scientific article)

As a closing note, obesity is now considered a chronic disease. A chronic disease is defined as “conditions that last 1 year or more and require ongoing medical attention or limit activities of daily living or both” and include conditions such as heart disease and cancer.

Related Posts

This area will fill in the more body subjects we’re able to get to.

Sex Education Posts

AVOID THIS: BODY SHAPE STEREOTYPES

I addressed this in Describe It: Character Appearance, but we are going to reiterate it here: stereotypes should be avoided at all costs! If you cannot write a villain who isn’t considered ‘ugly’ or can’t write a socially awkward character without skin conditions and glasses, you are relying on stereotypes to support weak writing. Don’t be that person.

It may be a good idea to get someone to pre-read your manuscript for sensitivity. After all, we all have biases we’re not conscious of. A sensitivity reader may help you identify where you’ve put yours to page.

Before we get into the thick of how to describe bodies, let’s talk about what we want to avoid. The why for all of them, aside from what’s written above and the linked articles through this post, includes “making wild generalizations about groups of people based on body type, race, sexuality, gender, etc. kind of makes you an ass”.

This is not to say that people with culturally ideal body types aren’t cast in these roles. This is pointing out that people who aren’t running around with culturally ideal or out of the norm body types tend to be typecast.

Read: Stereotypes

Read: The Good, the Bad, and the What of Stereotypes

Read: Opportunities Lost: The Impact of Stereotypes on Self and Others (scientific paper)

Read: How to Beat Stereotypes by Seeing People as Individuals

STEREOTYPE
Overweight people are evil /cruel /unhappy

The most common version of this one I can think of is the portrayal their ‘ugliness’ inside is reflected on the outside. Firstly, this is a very unrealistic portrayal of ‘ugly’ vs ‘pretty’ people. Our attitudes and beliefs very rarely change our physical attractiveness. It can affect our perception of physical attractiveness though.

Another is that they suffer from mental illness, or they’ve turned cruel in retribution for the way they’ve been treated. This simplifies people down to their personality being based on their weight. Do people go bad because of mistreatment and mental illness? Absolutely. Is it the norm? Nooooo. Yet media portrays it that way a LOT.

“In 40% of children’s movies, at least one character with obesity is disliked…”
*source: https://www.obesityaction.org/resources/fattertainment-obesity-in-the-media/

STEREOTYPE
Overweight people are goofy /are comedic relief /can’t be taken seriously/ unintelligent / secretly miserable

This is typically done to show people who are overweight having value and emotions. Here, let’s give them the positive trait of ‘funny’. The problem is that tends to be their whole personality and purpose. They aren’t written as people.

Some take it a slight step forward and give them sadness over the way they’re treated, their body condition, or similar as a way to make the character deeper. It denies the fact weight does not define anyone’s goals, dreams, personality, or needs, all things you should build for strong characters.

STEREOTYPE #3
Overweight people are lazy /unhygienic /gross /lack self-control /always think about food /lack style

Obesity can be tied to low self-esteem and depression. In fact, depression is a very common symptom in those who suffer the chronic condition of obesity. DEPRESSION can cause people to become inactive, have trouble showering, have eating disorders, or outwardly care less about appearance.

The funny thing here is though, people who are not overweight are not proportionally represented this way. In fact, depression is extremely common (you can learn more about that in our article Describe it: Depression) and by no means limited to people with weight conditions.

“…in over half of children’s movies, a character with obesity is shown thinking about or eating food”
*source: https://www.obesityaction.org/resources/fattertainment-obesity-in-the-media/

STEREOTYPE
Very thin people are ill either physically or mentally or evil

There are a hundred reasons why someone may be very thin. This can be from chronic conditions to an effect of their gut micro or macro biomes to simply genetics. Not everyone can help it.

To portray people who are naturally thin as sickly is wildly inaccurate. Most thin people do not have an eating disorder. Genetics plays a large role in weight, both for people over AND underweight.

STEREOTYPE
‘Idealized’ bodies are always healthy

Health of a body cannot be so simply broken down to weight. Weight may or may not be a symptom of illness, but there are a LOT of people out there with ‘idealized’ bodies suffering from chronic health conditions.

One anecdote I’ll share is someone I personally worked with. At the time, I was a bit heavier, or extra curvy, and they worked out daily with a strict diet. They were exceptionally annoyed to find out that my cholesterol and other labs were ideal while they lived this very healthy life and had to be on medication to control their cholesterol.

Yes, working out to compensate for sedentary lifestyles is good, but it doesn’t override genetics, and can be responsible for permanent injuries to joints or the spine.

STEREOTYPE
Muscular people are always in prime condition

This is pretty much the exact same thing as the above. People, especially men, are often shown as muscular and in peak physical condition. They are rarely depicted with consequences from highly restrictive diets or even the most common injuries that come with developing that muscle. And, again, exercise – while great – does not necessitate the fixing of genetic conditions.

Additionally, maintaining muscular physiques can take a significant toll on mental health, happiness, and relationships as those physiques require a lot of sacrifice.

Read: Chris Evans: ‘Captain America workouts were brutal’
Read: Chris Hemsworth eats 8 meals a day to look like Thor

STEREOTYPE #6
Ripped, super defined muscles are natural or easily achieved

This adds onto Stereotype . To get the defined look we often see in male characters in movies, that then often translates down into books and other media, actors not only need to endure the above, but then they dehydrate themselves for days on end.

Read: The Witcher’s Henry Cavill Had A ‘Miserable’ Dehydration Diet To Look Ripped Shirtless

Keep in mind, for those shots, Henry Cavill is not super cut (with high muscle definition) like you see in a lot of magazines or romance novel covers.

To have your characters be super cut all day, every day, they’re going to suffer for it.

Read: What to know about chronic dehydration

Simply put, these physiques are not ideal for the person and certainly not sustainable without impacting their person’s health, mental and physical.

STEREOTYPE
Big muscles=Big strength and agility

There are exceptions to every rule but WIDELY, big, bulky muscles get in the way of a person’s ability to move optimally, reducing the range of motion and speed in which the muscle can be moved.

Additionally, it becomes harder to do things like hold their own body weight by hands, as the hands will not be able to support the copious extra weight.

You’ll notice that people in groups like the Navy SEALs (special operations forces in the US trained to operate forcefully and with extreme aggression and stealth. They are known worldwide for their operation effectiveness), tend not to be very, very bulky guys. They tend to be fit and muscular, but don’t look like bodybuilders. Keep in mind, guys who try out to be SEALs are put through extremes to get into the job…and most fail, with a lot dropping out because they can’t take it.

Read: From Body Builder to Special Ops Fit, a personal account of a former Navy SEAL

STEREOTYPE
Very muscular people are dumb

You see this more in movies than you do in books, I’ll admit. However, in the spirit of being thorough, we’re going to put it here as well. I’m not entirely sure where this comes from, aside from maybe a stereotype built off watching guys who dehydrated themselves until their minds slowed down?

Perhaps it came from people thinking that with all that working out these people had no time or desire to study or do anything but workout.

Either way, it’s insanely false. A person’s wants, desires, dreams, and goals, let alone their natural desire to improve themselves, cannot be based off how much muscle (or fat) a person has on their body.

STEREOTYPE
Women with ample breasts and/or hips are unintelligent/promiscuous

Throughout all media buxom women are relegated to two roles: the dumb woman (the equivalent to the dumb muscle-bound men in ) or the vixen who is just out for sex.

In general, you can see this in real life treatment as well. Believe it or not, there is a misconception floating around out there with people in dire need of education who believe a woman’s breast size correlates to the number of sexual partners her has (I wish I was lying).

STEREOTYPE
Women without ample breasts and/or hips are innocent /chaste /unworldly

This typically calls back to sexualizing youth. You get this character who is essentially ‘not yet a woman’ who is impressionable and innocent, and to emphasize this, they’re written as if their body is shaped by it. Avoid using people’s bodies to support their personalities. It is very much not the case.

STEREOTYPE
People who are overweight are undesirable

This way of thinking permeates most of modern society, and while it tends to focus on women, it does also leak over to men sometimes. There are a few things to factor in here:

  1. What is considered overweight is the preference of the person expressing their opinion. There are thousands of videos out there, for example, of men telling women who are thin by any standard that they need to lose weight.
  2. Peer pressure often makes people not speak their minds about their own preferences. This is especially true in toxic male friendships where one man will agree with his buddies in regards to women to avoid getting harassed or bullied by the group. This can happen with women as well, only it tends to be not as common.
  3. There is a large market for people considered overweight on places like OnlyFans, showing there is actually a considerable interest in ‘non-conforming’ bodies. Here is an article on just one person who makes significant money because of their weight.

So, keep in mind, modern media controls the narrative, not the truth.

STEREOTYPE
Thin men are losers/not masculine

It’s generally believed that men’s bodies aren’t as controlled in media as women’s are. In many ways this is true. However, that doesn’t mean that there aren’t expectations put upon men by modern media. The big (no pun meant) one is that men are expected to be built of muscle and traditional manliness.

While in some areas of the world, thin man are not as stereotyped as in western media, you’ll see a lot of thin men being portrayed not as heroes, not as love interests, but as geeky side characters who don’t know how to talk to women, people who get beat up all the time or made fun of, or otherwise unable to take care of themselves.

CONSIDER THIS: BODIES AREN’T WHAT YOU THINK

REALITY CHECK

Very thin/thin bodies are easy to maintain through food choices

Weight is a highly misunderstood aspect of our lives. New research is happening all the time to explain why bodies do what they do. In modern society, our ability can be impacted by a million factors from being sheltered from the weather all the time to genetics to exposure to chemicals to food availability, etc.

People with thin bodies tend to either come by it through genetics (which can change their body shape and weight over time), but most people have to have a balance of not eating too little or too much food and steady activity which is both weight baring and aerobic (even then, it may not work).

If you’re going to write a character that is lean, try giving them hobbies and focusses that help them maintain their weight, especially as they get older.

REALITY CHECK

Muscular bodies are easy to maintain

As addressed before, muscular bodies, especially very muscular bodies, require dedication to not only significant exercise but large calorie intake with a focus on protein.

Those Marvel superhero actors will tell you how miserable they are maintaining those bodies, as having them imposes significant restrictions to their lives, and requires a tonne of work.

If you’re going to write a muscular character, make sure to show why they are muscular. It will make your character more realistic and help with the establishment that these bodies are not particularly natural.

CONTENT WARNING, STRONG LANGUAGE

REALITY CHECK

Defined muscle is normal

There’s some information in the video linked directly above under point 2 and in other sections but suffice to say looking cut or ripped is not only not natural, but not healthy.

You know those action heroes you’re writing? The love interests in that romance novel? If you’re going on about the hard angles of their muscles, and their impressive definition, well, they’re going to be miserable, thirsty, and extremely dehydrated.

A good example to look at for more natural definition are people in the military. Generally, these people are not strongly defined, but have rounded muscle and supple skin, creating soft definition.

Try not writing strong definition in, especially to define manliness. This societal expectation of a cut look is a disservice to everyone and can be a dangerous ideal to chase.

REALITY CHECK

Thin waists with ample breasts and /or hips and/or buttocks is normal/common

Where women put on weight is largely a result of genetics. While putting weight on breasts and hips is certainly something that happens, people who put weight on primarily in those areas are rare. Most people will put weight on the front of the abdomen first, either just under the ribs or the lower abdomen.

Weight on the breasts often also involves weight on the upper arms, maybe neck.

Weight on the butt often also involves weight on the thighs, hips, and lower abdomen.

Of course, there are implants that affect this look. The industry for cosmetic enhancements is massive. If your character has these enhancements, there’s no shame in that. Let people know.

As a final point, that tiny waist and big boobs look results in a lot of back and shoulder pain.

REALITY CHECK

Weight loss is easy/a matter of willpower and food/exercise choices.

This calls back to Reality Check 1.

There are people who are overweight because of the food choices they make. There are people who are overweight because they are sedentary. However, there is a large problem with people who are overweight because of diet culture. For every diet they go on, restricting and/or burning excess calories, they impact their metabolism. Over time, the metabolism slows waaaaaaay down. It doesn’t take too long before these people can work out and eat in what would normally be a deficit to others, and they will not lose weight, or will begin to put it on.

Here are some studies on metabolic damage/adaptation:

But, of course, what is known about weight and metabolism is controversial and complicated. Studies on this are ongoing and often confusing. There are some studies that provide counterpoints. I could get into significant detail about this, however that’s not what you’re here for.

AVOID THIS: POOR REPRESENTATION OF DIFFERENCES

PEOPLE WITH DISABILITIES, HANDICAPS, OR OTHER OBVIOUS CONDITIONS

There are a number of disabilities and conditions that affect the body. It’s important to remember to treat these people with respect. For example, while you may say “her spine was malformed” do NOT say “she was malformed”. Avoid describing the person as though they are the disability, as though that is the most important thing to describe about them, if that condition is all that’s worth discussing.

If you want to represent someone with a disability and don’t have the option to talk to someone with it, search online for personal stories from these people.

AVOID THESE MISTAKES

  • Do not go out of your way to make the character extraordinary any more than you would an able-bodied character.
  • If the disability or handicap doesn’t need description you needn’t get into it.
  • Avoid lingering on what characters can’t do versus what they can.
  • Avoid language that focusses on ‘can’ts’. For example, a person isn’t confined to a wheelchair, they are a wheelchair user or they are a person who uses a wheelchair.
  • Know the condition you’re writing and realistically what it entails, and don’t mistake disabilities for diseases.
  • Do not use words such as ‘unfortunate’ to describe people who are handicapped.
  • Avoid these terms which are often seen as insulting: challenged, special
  • DO NOT USE these terms which are extremely offensive: cripple, vegetable, lame, retard, freak
  • Avoid sayings someone ‘suffers from’ or similar.
  • As stated above, do not confuse the person with a disability for the disability itself. Refer to the person first, and the disability second, if needed.
  • Replace ‘abnormal’ with ‘atypical’
  • Don’t focus on making people with disabilities and handicaps pitiable. Tear-jerkers are all well and good but if it’s not plot relevant don’t. Put away the pity and focus on plot relevance.
  • Understand the difference between a disability and a handicap.

    Disability. General term used for a functional limitation that interferes with a person’s ability for example, to walk, lift, hear, or learn. It may refer to a physical, sensory, or mental condition. Use as a descriptive noun or adjective, such as person living with AIDS, woman who is blind. or man with a disability. Impairment refers to loss or abnormality of an organ or body mechanism, which may result in disability.

    Handicap. Not a synonym for disability. Describes a condition or barrier imposed by society, the environment, or by one’s own self. Some individuals prefer inaccessible or not accessible to describe social and environmental barriers. Handicap can be used when citing laws and situations but should not be used to describe a disability. Do not refer to people with disabilities as the handicapped or handicapped people. Say the building is not accessible for a wheelchair-user. The stairs are a handicap for her.

    *source: https://www.reachcils.org/guidelines-writing-and-referring-people-disabilities

EXAMPLES OF DISCRIBING DISABILITIES, HANDICAPS, AND OTHER OBVIOUS CONDITIONS

DescriptionInformation
Her spine curved from side to side, making her shoulders uneven.Describing obvious physical differences.
His severe scoliosis made the walk across the room laborious.Describing how a condition affects movement.
Curtis navigated his wheelchair through the debris.Describing use of a wheelchair without being distractingly or needlessly informative.
Olaf’s black cane tapped on the stone floor, the sound echoing from the barren walls.Describing effects of a tool, implying there is a need for it without getting into needless detail.
When Libuše stood she seemed unsteady, but she shuffled from her chair to the bookshelf regardless.Describing how an obvious affect without focusing on a “can’t”
Nina waved her fingerless hand in the air in a dismissive sweep.Describing the condition as matter of fact.
As Izem aged, his legs had grown thin, and his arms had curled up toward his chest. Describing significant disability without emotion, keeping the context factual.
When she focused, Mark noticed how Kristine’s finger would trace the healed burns on her face.Describing actions associated with a difference without direct negative connotations.
The landmine had taken Broen’s left arm and leg, having left significant scarring that disappeared beneath the neck of his shirt.Describing the backstory behind someone’s differences.
Dale adjusted his ventilator with his tongue before returning to work on his novel.Describing significant disability, implying multiple symptoms, while not making someone incapable.

PEOPLE WITH SPECIFIC CONDITIONS

DWARFISM

Dwarfism is a condition that causes people to be abnormally short and can come with a host of other conditions. The appearance of a person with dwarfism can vary depending on the type of dwarfish they have. Achondroplasia, a form of dwarfism that constitutes 70% of all cases of this rare condition, affects one out of 26,000 to 40,000 babies.

The most common symptoms of this form of Dwarfism are:

“People with achondroplasia have a relatively long trunk and shortened upper parts of their arms and legs. Other features of achondroplasia include:

  • A large head with a prominent forehead
  • A flattened bridge of the nose
  • Protruding jaw
  • Crowded and misaligned teeth
  • Forward curvature of the lower spine
  • Bowed legs
  • Flat, short, broad feet
  • “Double-jointedness”

*source: https://www.webmd.com/children/dwarfism-causes-treatments

Avoid these terms completely

  • Pocket-sized
  • Pint-sized
  • Midget (absolutely never use this)
  • Dwarf (though not always seen as offensive, Dwarfism is a condition. Use ‘Person with Dwarfism’ instead)

Respectful terms if one must be used

  • Little person
  • Person of short stature / short-statured person
  • Person with Dwarfism

PEOPLE WITH GIGANTISM / ACROMEGALY

These conditions affect the height of a person due to an over production of growth hormone. As a result, people with these related conditions tend to be significantly taller than other people and tend to have other conditions.

Gigantism is the name of this condition when it appears in childhood. Acromegaly is its name when it appears in adults. A rare condition, it is seen in roughly 60 per 1,000,000 people.

In addition to height, hand, feet, jaws, nose, and the brow ridge tend to become atypically large, even for their increased proportions.

Treatment of these conditions depend on why they exist, but medications for rare disease can be extremely expensive. Without treatment, people with these conditions can continue to grow until their skeletal structure can no longer support them.

Symptoms of this condition include:

  • “Enlarged hands and feet
  • Enlarged facial features, including the facial bones, lips, nose and tongue
  • Coarse, oily, thickened skin
  • Excessive sweating and body odor
  • Small outgrowths of skin tissue (skin tags)
  • Fatigue and joint or muscle weakness
  • Pain and limited joint mobility
  • A deepened, husky voice due to enlarged vocal cords and sinuses
  • Severe snoring due to obstruction of the upper airway
  • Vision problems
  • Headaches, which may be persistent or severe
  • Menstrual cycle irregularities in women
  • Erectile dysfunction in men
  • Loss of interest in sex”

*source: https://www.mayoclinic.org/diseases-conditions/acromegaly/symptoms-causes/syc-20351222

WHAT ARE THE DIFFERENT BODY SHAPES?

TRIANGLE (PEAR) BODY SHAPES

MEN (less common) – WOMEN (more common)

Description:

A triangle or pear-shaped body has wider hips and thighs than the shoulders and bust, resulting in a fuller lower body and narrower upper body. This shape is characterized by a defined waistline. The lower body tends to have more curves and weight distributed in the hips, thighs, and buttocks, while the upper body is narrower with smaller breasts and less prominent shoulders.

Finding well-fitting clothing can be a challenge for people with this body shape, as they need to accommodate wider hips and thighs. However, styling techniques such as emphasizing the waist and upper body or wearing A-line or flared skirts can help balance the proportions of a pear-shaped body.

INVERTED TRIANGLE BODY SHAPES

MEN (more common) – WOMEN (less common)

Description:

An inverted triangle body shape is characterized by broad shoulders and a wider upper body, with narrower hips and thighs. This body shape is also known as a “top-heavy” or “apple-shaped” body.

The upper body of an inverted triangle body shape tends to be the most prominent feature, with broad shoulders, a broad chest, and a fuller bust. The waistline may be less defined, and the hips and thighs may be narrower in comparison. As a result, people with this body shape may find it challenging to find clothing that fits well, as they often need to accommodate the wider upper body.

Styling techniques that can help balance the proportions of an inverted triangle body shape include wearing clothing that emphasizes the lower body, such as A-line skirts or wide-leg pants, to create the illusion of fuller hips and thighs. Additionally, choosing tops with a V-neck or scoop neckline can draw attention to the upper body without adding extra width.

RECTANGLUAR BODY SHAPES

MEN (more common) – WOMEN (less common)

Description:

A rectangular body shape, also known as an athletic or straight body shape, is characterized by a lack of pronounced curves. The waist is typically not well-defined and is close in width to the hips and shoulders.

People with rectangular body shapes tend to have a slim and linear silhouette, with little difference in measurement between their hips, waist, and shoulders. They often have a flatter chest / smaller bust, as well as a straighter torso and narrower hips.

This body shape can make it challenging to create the appearance of curves, but there are many styling techniques that can help add the illusion of curves. For example, wearing clothing with cinched waists or belted tops can create the appearance of a more defined waist. Similarly, adding volume to the bust or hips through padding or ruffles can help create a more hourglass silhouette.

OVAL (APPLE) BODY SHAPES

MEN (more common) – WOMEN (less common)

Description:

An oval or apple-shaped body typically refers to a body shape where the waist is wider than the hips and shoulders. This body shape is characterized by a rounded torso with a fullness in the midsection.

People with an oval body shape may tend to gain weight around the midsection and may also have a larger bust and broader shoulders. The hips and legs may be slimmer in comparison to the midsection, creating an unbalanced appearance.

People with this body shape may find it challenging to find clothing that fits well and flatters their shape. However, there are many styling techniques that can help balance the proportions of an oval body shape, such as wearing clothing that creates a defined waistline, choosing clothing with a flowing silhouette to camouflage the midsection, and avoiding clothing that is too tight or clingy in the midsection.

HOURGLASS BODY SHAPES

MEN (less common) – WOMEN (more common)

Description:

Hourglass body shape refers to a balanced proportion between the hips and bust, with a well-defined waistline, creating a curvy and symmetrical silhouette. This body shape is typically characterized by a fuller bust and hips with a narrow waist, creating an hourglass figure. An hourglass figure can be present on both leaner and heavier bodies.

An hourglass body shape has a clear definition of the waistline, and the hips and bust are often the same width or very close to it. The curves of an hourglass body are more prominent than in other body shapes, creating a feminine and voluptuous appearance.

People with this body shape can choose from many clothing styles that flatter their figure, but it’s important to choose clothing that accentuates the waistline without adding bulk to the bust or hips. Form-fitting clothing or clothes with a cinched waist can enhance the curves of an hourglass body, while loose or baggy clothing may hide or obscure them.

Body types such as “oval, triangle, hourglass, etc.” are based on body shape or silhouette, typically defined by the distribution of fat and muscle in the body. On the other hand, body types such as “ectomorph, endomorph, and mesomorph” are based on body composition, defined by the proportion of fat, muscle, and bone in the body.

ECTOMORPH BODY TYPES

Description:

An ectomorph body type refers to a lean and slender build, often characterized by a narrow frame and long limbs. This body type is typically associated with a fast metabolism, which can make it challenging to gain weight and build muscle.

Ectomorphs tend to have a straighter shape, with less pronounced curves than other body types. They may have a smaller bone structure and a flat chest, and their shoulders and hips may be roughly the same width. Ectomorphs often have a lower body fat percentage, which can make their muscles appear more defined.

While ectomorphs may have a naturally slim build, they can still build muscle and strength through consistent exercise and a healthy diet. Strength training and resistance exercises can help build muscle mass and increase overall body weight, while a diet rich in protein and complex carbohydrates can provide the necessary nutrients for muscle growth. Clothing styles that enhance the appearance of muscle mass, such as fitted tops or structured jackets, may flatter this body type.

MESOMORPH BODY TYPES

Description:

A mesomorph body type is characterized by a muscular and athletic build with a well-defined and proportioned body. This body type has a naturally lean and muscular frame with broad shoulders, a narrow waist, and a low body fat percentage.

Mesomorphs typically have a well-proportioned upper and lower body, with a V-shaped torso that’s wider at the shoulders and narrows down towards the waist. They tend to gain muscle mass and lose fat easily, making it easier for them to achieve a toned and athletic physique.

People with a mesomorph body type may find that a wide range of clothing styles flatter their body shape. They can often wear form-fitting clothing that highlights their muscular frame, or loose clothing that drapes over their well-defined body without adding bulk. They may also find that clothing with vertical stripes or patterns can help elongate their frame and enhance their V-shaped torso.

ENDOMORPH BODY TYPES

Description:

An endomorph body type is typically characterized by a softer, rounder physique with a higher body fat percentage. This body type tends to have a wider waistline, wider hips, and a larger bone structure, giving it a more rounded appearance.

People with an endomorph body type tend to have a slower metabolism and may struggle with weight gain and losing fat. They may also have more difficulty building muscle and may be prone to storing excess fat in their midsection.

Despite these challenges, people with endomorph body types can still achieve a healthy and fit body by following a balanced diet and exercise plan. Strength training and cardiovascular exercise can help build lean muscle mass and increase metabolism, while a healthy diet with a focus on whole foods can help manage body fat levels. It’s important to find a sustainable approach that works for the individual and allows them to maintain a healthy lifestyle over the long term.

NOTE: people’s body types can change over time due to a variety of factors such as diet, exercise, age, hormones, and genetics. For example, someone who is initially ectomorphic may become more mesomorphic or even endomorphic if they start consuming more calories and engaging in weight training exercises that promote muscle growth. Likewise, someone who is initially endomorphic may become more mesomorphic or even ectomorphic if they adopt a healthier diet and increase their physical activity level. While it may be more challenging for some people to achieve certain body types due to their genetics, lifestyle changes can still make a difference.

SPECIAL NOTE

It is important to know the context of the words you are using to describe a person’s body, especially when societal issues exist with the treatment of said people. People whose body types deviate from a societal preference tend to experience significant judgement, staring, ridicule, isolation, and other challenges.

DO NOT USE BODY TYPES OR ATYPICAL APPEARANCES TO CREATE VILLIANS UNLESS SOMEHOW RELEVANT TO THE PLOT. If it is related to their character development, make sure to speak with someone who lives with that body type or atypical appearance before doing this. Life for these people is often not what is portrayed in media. How you represent marganilized communities can be seen as a reflection of you and can impact your reputation.

This includes people with disabilities, conditions, or health-related concerns.

As a creator of media, you create worlds but also impact this one. Write responsibly.

DESCRIBE IT: BODIES BY HEIGHT

VERY SHORT BODIES

  • Person of short stature
  • Short statured
  • Compact
  • Diminutive
  • Dwarfish*
  • Of meager height
  • Tiny*
  • Little person
  • Miniscule*
  • Miniature*
  • Minute
  • Petite
  • Very limited stature

Avoid These Vague Words

  • Little
  • Small
  • Short

Avoid These Words
Cliche or Offensive

  • Eensy
  • Gnomish
  • Itsy-bitsy
  • Midget
  • Puny
  • Runty
  • Stumpy
  • Teeny
  • Shrimpy
  • Wee

SHORT BODIES

  • Short Statured
  • Compact
  • Diminutive
  • Of meager height
  • Stunted
  • Dwarfish*
  • Limited Stature
  • Miniature*
  • Petite
  • Stunted
  • Truncated

Avoid These Vague Words

  • Small
  • Little
  • Short

MID-HEIGHT BODIES

Unless otherwise stated, readers will assume your character falls in this category. As such, mid-sized / average height people don’t require this sort of description.

Keep in mind, what is mid-sized or average depends on what society the person lives in. Average height in the Western countries is different from the average height of East Asian countries.

  • Average
  • Moderate
  • Ordinary
  • Unexceptional
  • Usual

TALL BODIES

  • Commanding
  • Grand
  • Impressive
  • Imposing
  • Lofty
  • Towering
  • Majestic
  • Statuesque

Avoid These Vague Words

  • Tall
  • Big

VERY TALL BODIES

Avoid These Vague Words

  • Behemoth (tall and largely built)
  • Colossal
  • Commanding
  • Enormous
  • Humongous
  • Immense
  • Imposing
  • Impressive
  • Lofty
  • Mammoth
  • Monolithic
  • Monstrous
  • Monumental
  • Mountainous
  • Soaring
  • Towering

Avoid These Vague Words

  • Giant
  • Very Tall
  • Big

*Use these words very carefully, such as for fantasy writing for other races. They can be demeaning.

Other Ways to Define Height in Writing

  • He came up to her chin
  • He towered over the crowd
  • She was a head taller than most people
  • They had to climb onto the chair
  • The fairy was no taller than the table they stood next to
  • The people across the ocean were much taller than they were here, but even he stood out among them
  • It was easy to lose track of them in a crowd. They blended into the everyman with ease.
  • At times, it was hard to find clothes that fit. The arms and legs were always too short.
  • Despite being unremarkable in height and build, her presence filled the room

DESCRIBE IT: BY BODY TYPE

Regardless of how thin a person is, they can have areas that have fat deposits. Regardless of how large a person is, they can have significant muscle mass. A person who is very thin may still be curvy due to genetics or body enhancements. A person who is large may not be considered curvy as they may not put on weight at the breasts and hips as others might. These are things to keep in mind when reading descriptions below.

The majority of phrases will be listed with examples of use in the WORDS TO DESCRIBE BODY TYPES – ULTIMATE LIST section near the bottom.

Words marked with (insulting) are insulting either by themselves or can be insulting if not worded very carefully.
Some may be insulting when describing some types of bodies but not others.

Very Thin Bodies

If looking for descriptors for illness affected bodies that are thin, see the section DESCRIBING BODIES: ILLNESS AFFECTED BODIES

LOW MUSCLE & FAT

  • Bony (insulting)
  • Boyish*
  • Brittle (insulting)
  • Concave
  • Dainty
  • Delicate
  • Ethereal
  • Fine-boned**
  • Fragile
  • Frail
  • Gangly (if paired with tall) (insulting)
  • Gaunt
  • Girlish*
  • Lanky (insulting)
  • Meager (insulting)
  • Paltry (insulting)
  • Petite (when paired with short)
  • Puny (insulting)
  • Rail thin
  • Rangy
  • Reedy (if paired with tall)
  • Skinny (vague)
  • Slender
  • Slight
  • Slim
  • Spidery (if paired with tall)
  • Spindly (if paired with tall)
  • Stalky (different than stocky)
  • Stick-like (if paired with tall)
  • Stringy (if paired with tall)
  • Svelte
  • Sylphlike
  • Tiny (vague)
  • Twiggy (if paired with tall)
  • Underweight (assumption)
  • Vulnerable
  • Waif-like
  • Wan
  • Weak (assumption) (vague)
  • Willowy
  • Wiry
  • Wizened

WITH MUSCLE

  • Balletic
  • Bony
  • Boyish*
  • Brittle
  • Compact
  • Dainty
  • Delicate
  • Dense
  • Fine-boned**
  • Fit
  • Lean
  • Limber (reference to flexibility)
  • Petite (when paired with short)
  • Sinewy
  • Skinny (vague)
  • Slender
  • Slight
  • Slim
  • Solid
  • Spry
  • Trim
  • Underweight (assumption)

*Do not use this word when describing attraction or in other potentially sexual context

Low muscle & fat references a standard body in this category without extra weight or muscle tone

Thin Bodies

LOW MUSCLE & FAT

  • Bony (insulting)
  • Boyish*
  • Brittle (insulting)
  • Dainty
  • Delicate
  • Elegant
  • Ethereal
  • Fine-boned**
  • Fragile
  • Gangly (if paired with tall)
  • Girlish*
  • Graceful
  • Lanky (insulting)
  • Lean
  • Meager (insulting)
  • Paltry (insulting)
  • Petite (when paired with short)
  • Puny (insulting)
  • Rangy
  • Reedy (if paired with tall)
  • Regal (mid-size to tall)
  • Skinny (vague)
  • Slender
  • Slight
  • Slim
  • Spidery (if paired with tall)
  • Spindly (if paired with tall)
  • Stalky (different than stocky)
  • Stick-like (if paired with tall)
  • Stringy (if paired with tall)
  • Svelte
  • Sylphlike
  • Trim
  • Twiggy (if paired with tall)
  • Underweight (assumption)
  • Wan
  • Weak (assumption) (vague)
  • Willowy
  • Wiry

WITH FAT

  • Curvaceous
  • Delicate
  • Filled out
  • Fine-boned**
  • Lithe
  • Nubile
  • Out-of-shape (vague assumption) (insulting)
  • Overweight (assumption)
  • Padded
  • Paunchy (insulting)
  • Petite (when paired with short)
  • Skinny (vague)
  • Slender
  • Slight
  • Slim
  • Soft
  • Svelte
  • Swollen (insulting)
  • Tubby (insulting)

WITH MUSCLE

  • Angular
  • Balletic
  • Chiseled
  • Compact
  • Defined
  • Dense
  • Fit
  • Lean
  • Limber (reference to flexibility)
  • Lithe
  • Muscular
  • Petite (when paired with short)
  • Regal (mid-size to tall)
  • Sinewy
  • Skinny (vague)
  • Slender
  • Slim
  • Solid
  • Spry
  • Svelte
  • Trim

*Do not use this word when describing attraction or in other potentially sexual context

**Fine-boned is not a thing. Skeletal structure proportionally varies little between people

Low muscle & fat references a standard body in this category without extra weight or muscle tone

Mid-Sized Bodies

LOW MUSCLE & FAT

  • Out of shape (insulting)
  • Graceful
  • Lean
  • Nubile
  • Spry
  • Trim
  • Weak (assumption) (vague)

WITH FAT

  • Bloated (insulting)
  • Beer-bellied (insulting)
  • (somewhat) Corpulent
  • Curvaceous
  • Filled out
  • Flourishing
  • Nubile
  • Out-of-shape (vague assumption) (insulting)
  • Overweight (assumption)
  • Padded
  • Paunchy (insulting)
  • Plump
  • Pudgy
  • Puffy
  • Rotund
  • Round
  • Soft
  • Stubby (if paired with short)
  • Stumpy (if paired with short)
  • Sumptuous
  • Supple
  • Swollen (insulting)
  • Tubby (insulting)

WITH MUSCLE

  • Angular
  • Athletic
  • Chiseled
  • Curvaceous
  • Defined
  • Dense
  • Fit
  • Lean
  • Lithe
  • Muscular
  • Nubile (female)
  • Powerful
  • Regal (mid-size to tall)
  • Resilient
  • Sinewy
  • Solid
  • Stalwart
  • Stately
  • Statuesque (if paired with tall)
  • Strong (vague)
  • Stubby (if paired with short)
  • Stumpy (if paired with short
  • Tough (vague)
  • Trim
  • Uncompromising

Low muscle & fat references a standard body in this category without extra weight or muscle tone

Above Mid-Sized Bodies

WITH FAT

  • Ample
  • Big boned**
  • Bloated (insulting)
  • Bountiful
  • Broad
  • Bulging
  • Bulky
  • Chubby
  • Comfortable
  • Corpulent (insulting)
  • Curvaceous
  • Filled out
  • Fleshy
  • Flourishing
  • Full-figured
  • Generous
  • Hardy
  • Heavy
  • Heavyset
  • Hefty
  • Husky
  • Nubile (female)
  • Out-of-shape (vague assumption) (insulting)
  • Overweight (assumption)
  • Padded
  • Paunchy (insulting)
  • Pleasingly plump
  • Plentiful
  • Plump
  • Pudgy
  • Puffy (insulting)
  • Rotund
  • Round
  • Sizable
  • Soft
  • Squat (if paired with short)
  • Stocky (mid-sized to short)
  • Stout (if paired with short)
  • Stubby (if paired with short)
  • Stumpy (if paired with short)
  • Substantial
  • Sumptuous
  • Supple
  • Swollen (primarily insulting)
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Tubby (insulting)
  • Well-fed
  • Well-padded
  • Well-rounded
  • Wide

WITH MUSCLE

  • Ample
  • Angular
  • Athletic
  • Blockish
  • Brawny
  • Broad
  • Bulging
  • Bulky
  • Chiseled
  • Commanding (if paired with tall)
  • Curvaceous
  • Defined
  • Dense
  • Fit
  • Flourishing
  • Formidable (if paired with tall)
  • Great
  • Hardy
  • Heavy
  • Heavyset
  • Hefty
  • Herculean (if paired with tall)
  • Hulking
  • Husky
  • Impressive
  • Majestic
  • Muscular
  • Plentiful
  • Powerful
  • Regal (mid-size to tall)
  • Resilient
  • Sinewy
  • Sizable
  • Solid
  • Squat (if paired with short)
  • Stacked (regarding muscle)
  • Stalwart
  • Stately
  • Statuesque (if paired with tall)
  • Stocky (mid-sized to short)
  • Stodgy
  • Stout (if paired with short)
  • Strapping (mid-sized to tall)
  • Strong (vague)
  • Stubby (if paired with short)
  • Stumpy (if paired with short)
  • Robust
  • Sturdy
  • Substantial
  • Supple
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Tough (vague)
  • Uncompromising
  • Weighty
  • Well-fed
  • Well-rounded
  • Wide

**Big boned is actually not a thing. Proportionally, skeletal structures vary little.

Low muscle & fat references a standard body in this category without extra weight or muscle tone

Large Bodies

HIGH MUSCLE & FAT

  • Abundant
  • Ample
  • Barrel Chested
  • Bearish*
  • Big (vague)
  • Big-bellied
  • Blockish
  • Blocky
  • Bountiful
  • Boxlike
  • Brawny
  • Broad
  • Brutish
  • Bulging
  • Bulky
  • Bullish
  • Burly
  • Comfortable
  • Commanding (if paired with tall)
  • Considerable
  • Copious
  • Corpulent (insulting)
  • Cumbersome (insulting)
  • Cumbrous (insulting)
  • Curvaceous
  • Excessive (insulting)
  • Extensive
  • Extra curvy
  • Flourishing
  • Formidable (if paired with tall)
  • Generous
  • Generously proportioned
  • Glorious
  • Grand
  • Grandiose
  • Great
  • Hardy
  • Heavy
  • Heavyset
  • Heavyweight
  • Hefty
  • Humongous (if paired with tall)
  • Husky
  • Imposing
  • Impressive
  • Lumbering (if paired with tall)
  • Meaty
  • Merciless
  • Mighty
  • Muscular
  • Ominous
  • Overabundant
  • Oversize
  • Plentiful
  • Powerful
  • Prodigious (if paired with tall)
  • Pudgy (insulting)
  • Puffy
  • Rotund
  • Round
  • Sizable
  • Soft
  • Spherical (insulting)
  • Squat (if paired with short)
  • Stacked (regarding muscle)
  • Stalwart
  • Stodgy
  • Stout (if paired with short)
  • Strong (vague)
  • Robust
  • Sturdy
  • Substantial
  • Sumptuous
  • Supple
  • Swollen (insulting)
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Thickly proportioned
  • Tough (vague)
  • Tremendous (if paired with tall)
  • Vast
  • Voluminous
  • Weighty
  • Well-fed
  • Well-padded
  • Well-rounded
  • Wide

WITH FAT

  • Abundant
  • Ample
  • Bearish*
  • Beer-bellied (insulting)
  • Big (vague)
  • Big-bellied
  • Big boned**
  • Bloated (insulting)
  • Bountiful
  • Broad
  • Bulbous (insulting)
  • Bulging
  • Bulky
  • Burdensome (insulting)
  • Chubby
  • Comfortable
  • Commodious
  • Considerable
  • Copious
  • Corpulent (insulting)
  • Cumbersome (insulting)
  • Cumbrous (insulting)
  • Curvaceous
  • Doughy (insulting)
  • Droopy (insulting)
  • Excessive (insulting)
  • Extensive
  • Extra curvy
  • Fleshy
  • Formidable (if paired with tall)
  • Full
  • Full-bodied
  • Full-figured
  • Generous
  • Generously proportioned
  • Globular
  • Grand
  • Grandiose
  • Heavy
  • Heavyset
  • Heavyweight
  • Hefty
  • Humongous (insulting)
  • Husky
  • Inflated (insulting)
  • Lumbering (if paired with tall) (insulting)
  • Obese (vague medical term)
  • Out-of-shape (vague assumption) (insulting)
  • Overabundant (insulting)
  • Oversize
  • Overweight (assumption)
  • Padded
  • Pendulous (insulting)
  • Pleasingly plump
  • Plentiful
  • Plump
  • Portly
  • Prodigious (if paired with tall)
  • Protuberant (insulting)
  • Pudgy (insulting)
  • Puffy (insulting)
  • Rotund
  • Round
  • Sizable
  • Soft
  • Spherical
  • Spongy (insulting)
  • Squat (if paired with short)
  • Stout (if paired with short)
  • Sturdy
  • Substantial
  • Sumptuous
  • Supple
  • Swollen (insulting)
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Thickly proportioned
  • Tremendous (if paired with tall)
  • Tubby (insulting)
  • Vast
  • Voluminous
  • Weighty
  • Well-fed
  • Well-padded
  • Well-rounded
  • Wide

WITH MUSCLE

  • Abundant
  • Ample
  • Athletic
  • Barrel chested
  • Bearish*
  • Big (vague)
  • Blockish
  • Blocky
  • Bountiful
  • Boxlike
  • Brawny
  • Broad
  • Brutish
  • Bulging
  • Bulky
  • Bullish
  • Burly
  • Chiseled
  • Commanding (if paired with tall)
  • Considerable
  • Copious
  • Cumbersome
  • Cumbrous
  • Curvaceous
  • Defined
  • Dense
  • Durable
  • Excessive
  • Extensive
  • Fit
  • Formidable (if paired with tall)
  • Generous
  • Glorious
  • Grand
  • Grandiose
  • Great
  • Heaving
  • Heavyweight
  • Herculean (if paired with tall)
  • Hulking
  • Humongous (if paired with tall)
  • Imposing
  • Impressive
  • Lumbering (if paired with tall)
  • Majestic
  • Meaty
  • Merciless
  • Mighty
  • Muscular
  • Ominous
  • Overabundant
  • Oversize
  • Plentiful
  • Powerful
  • Prodigious (if paired with tall)
  • Sizable
  • Solid
  • Squat (if paired with short)
  • Stacked (regarding muscle)
  • Stalwart
  • Stocky (mid-sized to short)
  • Stodgy
  • Strong (vague)
  • Powerhouse (could be cliche)
  • Robust
  • Sturdy
  • Substantial
  • Supple
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Tough (vague)
  • Tremendous (if paired with tall)
  • Uncompromising
  • Vast
  • Voluminous
  • Weighty
  • Well-fed
  • Wide

*For bearish note that this could be misconstrued. Bear is a term for men of considerable size (with or without notable amounts of body hair) who are gay and tend to be in dominant sexual roles in their relationships.

**Big boned is actually not a thing. Proportionally, skeletal structures vary little

Very Large Bodies

HIGH MUSCLE & FAT

  • Abundant
  • Ample
  • Barrel chested
  • Bearish*
  • Beastly
  • Behemoth (if paired with tall)
  • Big (vague)
  • Big-bellied
  • Blockish
  • Blocky
  • Bountiful
  • Boxlike
  • Broad
  • Brutish
  • Bulbous (insulting)
  • Bulging
  • Bulky
  • Bullish
  • Burly
  • Colossal (if paired with tall)
  • Commanding (if paired with tall)
  • Considerable
  • Copious
  • Corpulent (insulting)
  • Cumbersome (insulting)
  • Cumbrous (insulting)
  • Excessive
  • Extensive
  • Formidable (if paired with tall)
  • Gargantuan (if paired with tall)
  • Generously proportioned
  • Gigantic (if paired with tall)
  • Glorious
  • Grandiose
  • Humongous (if paired with tall)
  • Immense (if paired with tall)
  • Imposing
  • Impressive
  • Lumbering (if paired with tall)
  • Meaty
  • Merciless
  • Mighty
  • Monolithic (if paired with tall)
  • Monstrous (if paired with tall)
  • Monumental (if paired with tall)
  • Mountainous (if paired with tall)
  • Muscular
  • Ominous
  • Overabundant
  • Oversize
  • Plentiful
  • Powerful
  • Prodigious (if paired with tall)
  • Pudgy (insulting)
  • Puffy (insulting)
  • Round
  • Sizable
  • Soft
  • Spherical
  • Stacked (regarding muscle)
  • Stalwart
  • Stout (if paired with short)
  • Strong (vague)
  • Robust
  • Sturdy
  • Substantial
  • Swollen (insulting)
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Tough (vague)
  • Tremendous (if paired with tall)
  • Vast
  • Voluminous
  • Weighty
  • Well-fed
  • Well-padded
  • Well-rounded
  • Wide

WITH FAT

  • Abundant
  • Ample
  • Beer-bellied (insulting)
  • Big (vague)
  • Big-bellied
  • Bloated (insulting)
  • Bountiful
  • Broad
  • Bulbous (insulting)
  • Bulging (insulting)
  • Bulky
  • Burdensome (insulting)
  • Colossal (insulting)
  • Commodious
  • Considerable
  • Copious
  • Corpulent (insulting)
  • Cumbersome (insulting)
  • Cumbrous (insulting)
  • Doughy (insulting)
  • Droopy (insulting)
  • Excessive (insulting)
  • Extensive (insulting)
  • Extra curvy
  • Fleshy
  • Full-bodied
  • Full-figured
  • Gargantuan (insulting)
  • Generously proportioned
  • Gigantic (insulting)
  • Globular (insulting)
  • Grandiose
  • Humongous (insulting)
  • Immense (insulting)
  • Inflated (insulting)
  • Lumbering (if paired with tall) (insulting)
  • Monolithic (if paired with tall)
  • Monstrous (if paired with tall) (insulting)
  • Monumental (if paired with tall) (insulting)
  • Obese (vague medical term)
  • Overabundant
  • Oversize
  • Pendulous (insulting)
  • Plentiful
  • Portly (insulting)
  • Prodigious (if paired with tall)
  • Protuberant (insulting)
  • Round
  • Sizable
  • Soft
  • Spherical
  • Spongy (insulting)
  • Stout (if paired with short)
  • Substantial
  • Swollen (insulting)
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Thickly proportioned
  • Titanic (insulting)
  • Tremendous (if paired with tall
  • Unwieldy (insulting)
  • Vast
  • Weighty
  • Well-fed
  • Well-padded
  • Well-rounded
  • Wide

WITH MUSCLE

  • Abundant
  • Ample
  • Barrel chested
  • Bearish*
  • Beastly
  • Behemoth (if paired with tall)
  • Big (vague)
  • Blockish
  • Blocky
  • Bountiful
  • Boxlike
  • Brawny
  • Broad
  • Brutish
  • Bulging
  • Bulky
  • Bullish
  • Burly
  • Chiseled
  • Colossal (if paired with tall)
  • Commanding (if paired with tall)
  • Considerable
  • Copious
  • Cumbersome
  • Cumbrous
  • Defined
  • Dense
  • Durable
  • Enormous
  • Excessive
  • Extensive
  • Fit
  • Formidable
  • Gargantuan (if paired with tall)
  • Gigantic (if paired with tall)
  • Glorious
  • Grandiose
  • Heaving
  • Heavyweight
  • Herculean (if paired with tall)
  • Hulking
  • Humongous (if paired with tall)
  • Immense (if paired with tall)
  • Imposing
  • Impressive
  • Leviathan (if paired with tall)
  • Lumbering (if paired with tall)
  • Mammoth (if paired with tall)
  • Meaty
  • Merciless
  • Mighty
  • Monolithic (if paired with tall)
  • Monstrous (if paired with tall)
  • Monumental (if paired with tall)
  • Mountainous (if paired with tall)
  • Muscular
  • Ominous
  • Overabundant
  • Oversize
  • Plentiful
  • Powerful
  • Prodigious (if paired with tall)
  • Sizable
  • Solid
  • Stacked (regarding muscle)
  • Stalwart
  • Stocky (mid-sized to short)
  • Strong (vague)
  • Powerhouse (could be cliche)
  • Robust
  • Sturdy
  • Substantial
  • Thick
  • Thick bodied
  • Thickened
  • Thickset
  • Thick-waisted
  • Titanic (if paired with tall)
  • Tough (vague)
  • Tremendous (if paired with tall)
  • Uncompromising
  • Vast
  • Voluminous
  • Weighty
  • Well-fed
  • Wide

*For bearish note that this could be misconstrued. Bear is a term for men of considerable size (with or without notable amounts of body hair) who are gay and tend to be in dominant sexual roles in their relationships.

DESCRIBE IT: ILLNESS AFFECTED BODIES

In this section, we’ll cover how to describe physiques. However, illness affected bodies may also be well represented by talking about skin condition. For help with further descriptors for skin, we have a post for that, called Describe It: Skin. Posture may also be a good descriptor for this. Words relating to posture can be found in the next section. However, we have separated illness from disabilities or people who may have bodies formed differently as they are not necessarily illness related. That section is two down.

  • Ailing
  • Anorexic
  • Atrophied
  • Bloated
  • Bony
  • Brittle
  • Cadaverous
  • Crumbling
  • Decomposed
  • Decrepit
  • Degenerating
  • Delicate
  • Deteriorated
  • Dilapidated
  • Distended
  • Emaciated
  • Feeble
  • Fragile
  • Frail
  • Gaunt
  • Gnarled
  • Infirm
  • Malformed *
  • Malnourished
  • Meager
  • Puffy
  • Sickly
  • Slack
  • Spent
  • Spongy
  • Swollen
  • Taxed
  • Twisted
  • Unsteady
  • Wearisome
  • Withered
  • Worn

DESCRIBE IT: POSTURE

Be careful using some of these words for people with disabilities or people who may be built differently, as many can be offensive.

Describing posture is important as it can relay a lot about a character. Think about the introduction of a character. Just telling someone that character is sitting slumped in a chair gives an initial impression of the character. Other references to posture relay mood without outright saying what that mood is … showing not telling.

  • Bent
  • Bowed
  • Buckled
  • Contorted
  • Crooked
  • Drooping
  • Humpbacked
  • Hunched
  • Flaccid
  • Languid
  • Limp
  • Poised
  • Relaxed
  • Rigid
  • Sagging
  • Slouched
  • Slumped
  • Stiff
  • Stooped
  • Straight
  • Straight-backed
  • Twisted
  • Upright
  • Wilted

DESCRIBE IT: THE WAY BODIES FEEL

DescriptionExample
ComfortableThey laid their head on his comfortable belly, smiling up at him.
DenseHe poked at her biceps, finding them dense and unyielding.
GivingHe stroked the back of her arm, finding her body as soft and giving as he imagined.
HardShe poked him in the gut teasingly, finding the flesh hard with muscle.
ImmalleableThey began to massage their brother’s strained shoulders, finding the right to be immalleable.
ImmovableHe squeezed his boyfriend’s thigh, finding the flesh immovable with tension.
IronWhen she’d wrapped her hands around his bicep, squeezing playfully, Makhammad smiled down at her and flexed. The muscle became like iron.
LuxuriousAlbert had always loved the way her body was so soft under his touch it was luxurious.
MalleableAkiba squeezed their malleable stomach, laughing. “I may love working out, but I love eating much more.”
NubileA life of extreme care had graced Fumi with a nubile body and skin as flawless as new porcelain.
PliableThe pants fastened but only because Hernando’s body was just soft enough to be pliable.
PliantAnath ran her hands over pliant flesh.
RigidYears of unforgiving work in the fields had made Adrian’s body a rigid landscape of muscle.
SinewyA lifelong passion for ballet showed in the sinewy lengths of Ahmad’s body.
SoftAfter a lifetime of wars, there was finally peace, and Oleksander’s body – once rigid from years of marching and fighting – had become soft. It was a badge of honour because it was he who had negotiated the peace that allowed for it.
SolidBrennan hugged Anona, finding her much more solid than she first looked to be.
SquishyAlthough the baby had been born early, it didn’t take long until their cheeks were as squishy as they should have been.
SteelyLadislao had been practicing martial arts since he was able to stand. It gifted him with quick reflexes, graceful movements, and muscles that were steely to the touch.
StiffTonio had dead some point through the night. Rigor mortis had set in and now his body was stiff to the touch.
SuppleLiam’s fingers pressed into supple hips.
SurrenderingHer skin was warm and surrendering as his fingers slipped around her.
UncompromisingCandice pressed on Mina’s flexed arm, finding the muscle uncompromising.
Unyielding The muscles of his back were firm and unyielding.
YieldingHe relaxed under her ministrations, his flesh becoming yielding as her fingers moved over him.

DESCRIBE IT: THE WAY BODIES MOVE

Of course, we all know that as writers that we want to show, don’t tell whenever possible. The way people move can be hindered by injury, disability, body type, or a number of other factors so don’t forget to add some of these words in to help add onto physical descriptions!

You may also be interested in our article about movement words, Movement Words Better Than Walk, Run, Fall, or Jump

DescriptionExample
ArduousArun rose, the simple act seeming to be arduous after his injury.
AgileKai sprung from one rooftop to the other, moving his agile form with ease.
AwkwardAfter a day in heels, Punita shambled awkwardly to the sink to grab some water to help her swallow the ibuprofen.
BackbreakingMagdaléna found the task of rising from bed practically backbreaking. Her weight had never been an issue before, but years of being bedridden had taken its toll.
BurdensomeSome days, Ísak found moving his powerful form to be more burdensome than it was worth.
CumbersomeLevin moved his weight in cumbersome sweeps.
DexterousHis small frame allowed Gopal to move dexterously.
DifficultAfter years of inactivity due to COVID, Iunia moved with some difficulty.
EfficientlyDulcie moved through the motions with profound efficiency.
EffortlesslyGabriel lifted the haybale effortlessly.
ExhaustingIn his youth, Arne found these actions exhausting.
FlexibleHad it not been for his flexibility, Arnaldo would have never escaped the dungeon.
FreelyThough larger than her peers, Olalla moved much more freely.
GracefullyJake danced gracefully across the stage, throwing charming smiles at anyone who met his eyes.
GruelinglyIt had only been three weeks since he’d lost his leg, but Sujay somehow though by now that moving wouldn’t be grueling by now.
HeavingDeirdre heaved her powerful form from the throne.
HesitantlyWith her back still aching, ever step Janneke took on the ice was hesitant.
IncompliantTapio came awake from his coma, finding his wasted body to be incompliant.
InfirmThe sickness had left Ilse infirm.
InflexibleAge had crept into every joint, making Hananias inflexible and slow.
LaboriouslyAda lifted herself from the chair in one laborious push.
LadenLaden by her own mass, Ouri ran for the door.
LightlyØystein was a mass of supple flesh and muscle, but he moved lightly through each swing of the ax.
LimberKazuo was normally limber, but today felt their age more than they cared to admit.
LumberingIn five lumbering steps, Angelino closed the distance, picking Christianne up from the floor.
NimblyHasdrubal swung his spear nimbly around him.
PainfullyMélanie hopped painfully from one foot to the next, her knees complaining about their burden.
PunishinglyEvery stride was punishing, the workout having caused all Mateja’s muscles to seize.
ReadilyA dancer by trade, Prem moved readily through the drill.
ResistantMiriam ran, her body resistant after all the years of inactivity.
ShakilyKlement moved his sickness-laden body shakily toward the medicine cabinet.
SluggishToo heavy to accommodate the request, Calliope sluggishly left the room.
SmoothlyMarloes strode smoothly to the other end of the great hall.
SpritelyVeniamin chased the spritely dog across the field.
StrenuouslyFarrukh found hiking to be far more strenuous than he originally thought it would be.
StubbornlyHis body moved stubbornly through the motions.
SurelyEvery step was taken surely, displaying Rik’s mastery.
TaxingCaiden sighed. Lifting his immense frame from the couch some days was taxing.
TiredlyAfter a full day on her feet, Winifred shuffled tiredly toward her car.
ToilsomelyScout was no longer a young man, and these long hikes Fahri liked to take were toilsome.
TorpidlyThe sun had barely started to lighten the sky when Dragiša torpidly got out of bed.
UncertainlyThe baby took three steps uncertainly, then giggled with delight.
UnsteadilyManjusha dragged herself unsteadily from the hospital bed, driven by the screams and groans coming from outside the door.
Without effortSeemingly without effort, David heaved the barrel off the ground.
With great effortKnocked down during the brawl, Akshay stood with great effort, his body fighting him the whole way.

WORDS TO DESCRIBE BODY TYPES – ULTIMATE LIST

Many of these words can be found above, but this list is all about physique, but does not include height, movement words, or sensory words.

IMPORTANT REMINDER: Although this list contains negative and even insulting terminology, avoid using these terms to disparage someone. For example, do not use a person’s lack of conventional beauty as a negative plot device, to enhance them as villains, to label them as gross, etc. REMEMBER, just because you’re writing a story doesn’t cancel the ‘treat other people as you would like to be treated’ rule of being a decent person. Nor is your writing an excuse to play with your own personal views on people who don’t fit your preference. How and what you write can be taken as who you are as a person.

So, when might be a time to use negative or insulting terminology? When you’re writing a villain and you want to show how gross they are when they show their opinion of others. Again, not making them unattractive in your eyes because they’re a villain, but they may have terrible views of others. Basically, use them in dialogue if you want to make a character terrible, otherwise, avoid using them.

DescriptionExample
AbnormalThere was something entirely abnormal to the way the distant woman was constructed, and her lumbering stride caused a trickle of fear through Margreet’s veins.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
AbundantSethunya scratched at her abundant belly, lips pursing with thought.
AilingBrett helped lift his mother’s small, ailing body from the car.
AmpleIgor was a mountain of a man, both tall and ample of build.
AngularWhen he’d met Hanna for the first time, he’d been taken aback by her sturdy, angular contours. He’d known she was a weightlifter, but he’d envisioned her in his head differently.
AnorexicEmma frowned at the way the clothes hung on her anorexic frame, then reminded herself she’d put on five pounds last month.
AsymmetricalAgimar had been born with an asymmetrical frame, the left side weaker and more rigid than the right.
AthleticAs Rahul stood before the adoring crowd, he waved with a theatrical smile, turning toward the light so it would highlight the definition carved into his athletic body.
AtrophiedAfter the blight, Ifunanya was atrophied but proud. When the order of dark knights came to her village, she struggled to lift the blade, but she would die defending these people.
AwkwardImproper training had made Stefan’s body awkwardly proportioned.
BaggyViktoras removed his shirt and folded it, ignoring the bagginess of his aging body.
BalleticEnide slipped her balletic frame into the dress, marking the places that would need to be taken in.
Barrel-chestedThe barrel-chested man shot up from his chair, face dark, shaggy brows sinking his black eyes into shadow. “What did you say about my mother?”
BearishWith his bearish form, Gaheris could easily intimidate anyone smaller than himself. Which was pretty much everyone.

For bearish note that this could be misconstrued. Bear is a term for men of considerable size (with or without notable amounts of body hair) who are gay and tend to be in dominant sexual roles in their relationships.
BeastlyMecit smirked at the beastly man. He would do.
Beer-BelliedFernanda tapped her husband’s beer-bellied figure. “I love all of you.”
BehemothWhen a behemoth of a woman walked onto the ship, Vural stood in transfixed wonder.
BentA life of hard labour left Patritsiya with a bent form that ached when the rain would come.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
Big-belliedDàibhidh roared with laughter, his big-bellied torso shaking with every cacophonous whoop.
Big bonedCory had been told all his life he was just big boned. Now, his doctor confirmed his suspicion that had been a lie.

Big boned is actually not a thing. Proportionally, skeletal structures vary little
BloatedVeronica grumbled from under the blanket, hiding her aching, bloated body.

Caution: this word is hard to use in a non-insulting way.
BlockishIt was Nessa’s blockish build that had caught the man’s eye. He’d always been drawn to strong women.
BlockyRoger was a blocky man, the same width at the chest as at the waist.
BonyLast year, Launce has been nothing more than a bony lad.
Bottom-heavySheila sighed as she tried to find a dress that fit. Bottom-heavy, the garments were perpetually too big at the breast and too small around her lips.
BoxlikeKalpana admired the man’s boxlike frame. He looked strong. Solid.
BoyishIohanna had a slender, boyish build that made it hard to find dresses that fit correctly without tailoring.

Do not use this word when describing attraction or other potentially sexual context
BrawnyBy thirty, Albert was brawny from a decade of working at the docks.
BrittleIllness had made Radana a brittle woman. Tissue-paper skin barely disguised the lack of muscle over her bones.
BroadNoe approached the bouncer. She was a tall woman, broad, and seemingly twice his size.
Broad-shoulderedWith how broad-shouldered Carin was, her waist appeared comparatively tiny.
BrutishEimantas set his helmet down on a rock, then shrugged his ruck sack to the ground. He was a brute of a man, but that worked against him on courses like this.
BulbousWhen Venijamin sat, his bulbous stomach rested on his thighs.
BulgingAlthough he was a lean man, Sašo’s stomach had become bulging.

or

Kevork was not a tall man, standing several inches shorter than average, and his shirt strained against the bulging muscle beneath it.
BulkySefa was bulkier than their sister, and most people their age.

or

Through years of arduous work, Lada had bulked up. They were proud of their progress, having never thought themselves capable of putting on so much muscle.
BullishTherese was a bullish woman in both body and nature.
BullneckedAmpelius laughed when he saw a beast of a man stride into his tent. “Yes, you’ll do well, my bullnecked friend! Having you on the front lines will make half the emperor’s army piss themselves.”
BurlyPaul scratched at the thick mass of hair on his bare chest before lifting his burly frame from the chair.

Burly is often associated with men who are both muscular and/or have considerable muscle and fat and have above average body hair
BustyThough otherwise androgenous, Delia was far too busty for their liking. The feature seemed out of place. Wrong. Not them at all.
BuxomPenelope pinned the front of her button up shirt together, closing the gaps caused by her buxom frame.
CadaverousMatti stared at the cadaverous body slumped in the chair, surprised to see signs of breathing. He rushed across the room, calling back to the other paramedics.
ChiseledUthyr rose, pulling back his massive shoulders in a move that further defined his chiseled form.
ChubbyOverwrought by glee, Heidi spun. Her dress flared away from her chubby frame, making her giggle more.
ColossalUinseann had to maneuver his colossal body through the doorway.
ComfortableVlas was no small man, and when asked how he managed to get any woman he desired, he liked to say that he was built for comfort.
CommandingTall, broad, and dark of skin, Yannic stood as a commanding presence in the great hall.
CommodiousMarwa was a commodious woman who emanated a matronly air.
CompactThere was no better word to describe Zita than compact. She was short and lean, but her strength was evident in the defined muscles all over her body.
ConcaveAfter a long illness, Magahet’s stomach was concave with clearly defined ribs.
ConsiderableEven for a berserker, Hróðvaldr was a considerable man.
CopiousAmélia crossed the room in a soft sashy, the fine, sheer fabrics covering her copious form swaying in the summer breeze.
CorpulentIn his younger year, Bahadur had been fit and healthy but since he’d retired, he had become what he could only see as corpulent.

Caution: this word is hard to use in a non-insulting way.
CrookedWhen Lucian stood, it was with great difficulty. His feet shuffled on the stone floor as he moved his aged, crooked body to the bookshelf.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
CumbersomeThree years after leaving the Army, Conley was no longer the machine he used to be. He’d slowly become a cumbersome man, most especially around the middle.
CumbrousEva stared openly at the gargantuan man entering the room. Handsome as he was, he was so muscular his clothes seemed to fit too tightly, and he appeared positively cumbrous.
CurvaceousIn his younger years, Samuel had been fascinated by any curvaceous figure that walked by. He’d become especially intoxicated over breasts large enough to fill his calloused hands.
CylindricalVer was a tall woman lacking much in the way of curves. From across the room, she appeared almost cylindrical.
DaintyUnlike the other princes, Sung-Ho was small and dainty. He had no interest in wielding weapons or fighting. Instead, he used words as weapons and smiles as warnings.
DebilitatedAfter the wagon had flipped, Dipali never regained her former life. Over time, her debilitated form became more extreme.
DecomposedAs Feige entered the chamber, he was greeted by an ancient looking man in long. flowing robes. Time had left the Magistar looking partially like a papery, decomposed husk.
DecrepitKeti laughed so loudly her decrepit form seemed like it may shake apart.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
DefinedHe might have resigned himself to leaving the party in favour of sleep, but then Ywain entered, still bare chested. Álǫf wasn’t normally into men as unforgivably defined as Ywain was, but there was just something about him that held the eye.
DegeneratingIt wasn’t just Yair’s knees that were degenerating, but the hard-earned muscle he was all but known for. It was all part of the plan, however. And so far, the assassins hadn’t recognized him.
DelicateTaisto’s eyes moved over the woman’s delicate body with a growing smile. “I’m not going to stop you, Rose. If you think you can move the keg, then do it.”
Dense“After all the working out you said you were doing, I expected you to be … bigger.” Art stabbed at Philémon’s arm with a single finger, finding it much akin to poking at a wall. “Jesus, you’re dense though!”
DeterioratingThough it was hard to do so, Teodomiro smiled and greeted his grandfather like he hadn’t noticed how deteriorated he’d become.
DilapidatedA lifetime of hard labour had left Zoja with a dilapidated body which ached as it moved.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
DiminutiveUnlike the rest of her family, Latifah was diminutive.
DimpledAs the weight had piled on, Grigor’s body became heavily dimpled. It was worst on his thighs and arms.
DisproportionateAjnur worked out daily, Sepp knew that, but tended to forget his legs in favour of a larger chest and arms. The result was a highly disproportionate body.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
DistendedTitus leaned back, patting his distended belly.
Doughy“I’m not doughy,” Arijit smirked, “I’m built for comfort.”
DroopingWith age, Aikaterine’s skin had loosened, giving her a drooping appearance.
Durable“I like her,” Grady rose from his chair, eyes locked on the new woman. “she looks…durable.”
DwarfishBlaine was short enough to be dwarfish, but Teodora wasn’t sure nor did she care enough to ask.
EffeminateÁron fastened the vest around his effeminate waist, turning from side to side in the mirror to check the fit.
ElegantTorben was elegantly proportioned.
ElongatedWhen standing beside others, Yo’ash appeared elongated, like the gods had made a typical man then stretched him out.
EmaciatedFamine left Richard emaciated.
EnfeebledStefcia hadn’t fared as well with the sickness that ravaged the land. Her body was enfeebled and difficult to move.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
EnormousKristina was an enormous woman, broad and more than a head taller than anyone else in her party.

or

With significant effort, Gabriel heaved his enormous mass from the chair.
EtherealFrom her long limbs to her soft face, everything about Victorina was ethereal.
ExaggeratedPáll’s exaggerated form lumbered across the floor, his meaty fists clenching.

or

Despite his lean frame, Roderick has an exaggerated belly.
ExpansiveThey pulled their shirt over their expansive frame, wiggling a bit as the fabric tightened around their waist.
ExpectantGreta noticed how the other woman kept touching her expectant belly.

This term should solely be used for people who are pregnant when in the context of body shapes.
Extra curvyShe was exactly what John Paul loved: short, lively, and extra curvy.
FeebleThe last time they were here, Nanna had been spry and full of life. The stroke had changed everything. Her feeble body slumped in the chair under her undiminished smile.

Caution: this word is hard to use in a non-insulting way.
Fine-bonedJoash was Andreas’ opposite. Tall and fine-boned, he had every piece of clothing he bought tailored to fit him precisely.

Fine boned is actually not a thing. Proportionally, skeletal structures vary little
FirmFlorry slapped their firm stomach.
FitAfter high school, Naram-Sim had traded an average body for one supremely fit.
FlabbyHaving lost sixty pounds in such a short time, Sung-Min was now contending with a flabbier body than expected.

Caution: this word is hard to use in a non-insulting way.
FleshyManu squeezed Rozália’s fleshy waist hungrily.
FlimsyGalia could think of no better word to describe Vivianne than “flimsy”.
FlourishingDropping into his seat, Hludwig adjusted his vest around his flourishing body.
FormidableNear the elevator, a formidable woman stood guard.
FragileChris has been fragile as a boy.
FrailFrail and sickly, Kazuya took great care moving through the crowd.
FullBy the age of twenty-nine, Themba had a full body she hadn’t quite learned to dress.
Full-bodiedFull-bodied, Marina had to maneuver carefully through the rocky crevasse.
Full-figuredAniket carefully dressed his full figure in the finest silks and linens.

Full figured, with women, also implies large hips and breasts.
GanglyIt took Vasyl an awkward amount of time to maneuver his gangly body up and over the wall, but he stood proud of his achievement.
GargantuanFootfalls hammering on the ground under the weight of her gargantuan body, Dymphna stormed across the room.
GauntEven in his best years, Fulbert had been gaunt.

When people think of gauntness, they often think of the face. However, it can apply to the body as well.
GenerousFaustina hugged Sanjay’s generous form.
Generously proportionedBrexio was a generously proportioned man, his well-groomed beard and hair as full and thick as the rest of him.
GiganticThe queen’s gigantic form barely fit in the throne.

or

The queen was gigantic. Magdalene had to crane her neck back to meet her eyes.
GirlishAlthough in her thirties, Deb had a girlish frame, never appearing to have hit puberty.

Do not use this word when describing attraction or other potentially sexual context
GivingArtur pulled the belt tighter, his soft, giving frame allowing him to get one hole tighter.
GlobularThey were tall, globular, and full of mirth.
GloriousPetra leaned back, taking in Ceferino’s glorious silhouette.
GnarledRustam shuffled across the room, his gnarled body moving with great difficulty.
GoodlyBarbara was of a goodly size yet sprinted across the field faster than her classmates.
Gorilla-likeTashi stumbled back from the gorilla-like man.

This may also imply the person is hairy.
GracefulThe silver threads sewn into the gown shone in the fire light, highlighting Olufunmilola’s graceful curves.
GrandEvi was a grand woman, not only in personality but in form.
GrandioseWith a brilliant smile, Håkan spun, showing off the suit encompassing his grandiose body.
HardySvengal searched the crowd on women from a distance before his eyes stopped on one. She was tall, red-haired, and hardy.
HeavyMarcelo raced up the ladder, pulling his heavy mass easily to the next floor.
HeftyHariman needed a hefty man to perform the task.
HerculeanBefore she could say more, Bozhidar stood, his herculean body blotting out what little sun was making it through the window.
HourglassThe black gown fit Oluchi’s hourglass figure perfectly.

An hourglass figure is one the same width at the chest as the hips, with a significantly narrower waist. This is possible at almost any weight, not just thin women.
HulkingWhen Gerhild stood, his hulking mass drew the attention of every briggand in the room.
HumongousThe librarian shifted, the chair squealing under her humongous form.
HunchbackedFrom childhood, Tecumseh had been hunchbacked.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
HunchedThey moved their hunched body with a surprising amount of agility.
HuskyTrinity was a husky woman, easily calling to mind ancient shieldmaidens.
ImmenseOne of his favourite things to do was float in his pool. It took the weight of his immense body off his knees and lower back.
ImposingThe door banged open, giving passage to an imposing man whose broad shoulders were draped by a white cloak.
ImpressiveBerrak slid his impressive form into the bed, smirking down at her.
InfirmAfter five months in a coma, Crystal’s body had become infirm, and her hospital gown hung on her.
InflatedSoffía was taken aback when she saw Viktor for the first time in years. After the injury, she’d known he’d stopped fighting, but he’d also grown weary looking and seemed inflated compared to the man she knew.

Caution: this word is hard to use in a non-insulting way.
IrregularThere was nothing wrong with Manuel, but he did suffer from an irregular form that tended to draw teasing from young kids.
LankyChristal was a lanky girl, far taller than her thin frame should allow for.
LeanWhen he was a boy, Guðmundr had been lean to a fault. Now, the earth quaked under his boots.
LeggyLeggy, Avner stepped over the hole easily.
LeviathanThe goddess emerged from the cave, revealing herself to be nothing short of a leviathan.
LimberAnna danced through the traps, her limber body able to fit through the narrow gaps between them.
LitheÉibhear wasn’t the strongest man in his village, but he was lithe, able to perform more dexterous tasks than the others.
Long limbedThis wasn’t the first time Maja was thankful for her long limbed body.
LumberingGildo had to duck to get his lumbering form into the tavern.
LumpyAnna sneered at the way her body looked lumpy in the fitted suit.
MajesticWhen Constantino entered the hall, he spotted Ekkehard’s majestic frame almost immediately.
MalformedInitially, Sveinn saw his malformed body as nothing but a burden. As he aged through, he found its strengths and made himself a comfortable life.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
MalnourishedThe child had emerged from the forest a sliver of what they had been. With malnourished body was covered in poorly healed wounds that had somehow avoided infection.
MammothElena sneered up at her mammoth friend.
MeagerDespite being forty, Catalin wasn’t often taken seriously because of her meagre frame and doeish eyes.
MercilessArnaud, merciless in both frame and character, laughed at Sìleas’s plea.
MightyUnlike the rest of her friends, Jana has a mighty physique.
MinusculeMuriel glanced around, almost overlooking the minuscule creature who had called out.
MinuteCompared to others, Sigurd was minute.
MisproportionedKistiñe considered herself misproportioned. Her legs too long. Her arms too short. No one else seemed to notice, but that didn’t matter to her.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
MisshapenLilah’s back was misshapen, turning in ways that made it difficult to move.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
MonolithicThe monolithic man approached Chika with a smile.
MonstrousThe door boomed open, admitting a monstrous woman clad in ragged leather garments.
Monumental“Dear lord,” Voitsekh gasped, looking up, “you’re absolutely monumental!”
MountainousAlfonz saw the man coming from the other end of the busy square, a mountainous creature twice the size of everyone else in every way possible.
MuscularKgosi dropped his muscular frame across the chaise, throwing the back of his hand over his forehead.
NecklessThe nightguard commander was a beast of a man, so profoundly built he appeared neckless in his armour.
NubileLambert smirked before crossing the hall, his nubile body moving with exaggerated grace.
ObeseOlusola never let her obesity stop her from taking on a challenge. In fact, she welcomed them.
OminousÆðelwulf stared as his cousin walked into the cabin. The man was ominous, taking up the entire doorway.
Out of proportionDiklah paused as she handed Manca her uniform, second guessing the size. Manca was a thin woman, but her curves were out of proportion with that slenderness.

Caution: this word is hard to use in a non-insulting way.
Out of shapeThe man was lean but out of shape, his stomach a bit too large from years of being sedentary.
OverabundantYara slid the dress onto her overabundant frame.
OverhangingBernard pulled his trousers up under his overhanging belly.
OverweightAnja was overweight by a good twenty pounds.
PaddedLei didn’t consider themselves fat, just a little extra padded.
PaltrySampo lifted his brother’s paltry form onto the horse.

Caution: this word is hard to use in a non-insulting way.
PaunchyThe man waddled towards us, his paunchy belly protruding from beneath his tight-fitting shirt.
PendulousThe man struggled to run, his pendulous belly bouncing up and down with each step.
PetiteMei Ling’s petite frame made her a natural for ballet dancing.
PitifulThe pitiful state of Tom’s body was a stark reminder of his struggles with an eating disorder.

Caution: this word is hard to use in a non-insulting way.
PleasingKaren’s pleasing curves caught the attention of many admirers at the beach.
Pleasingly plumpAunt Martha’s pleasingly plump figure was always a topic of conversation among the men.
PlentifulJordan’s plentiful muscles were on full display during the volleyball championship game.
PlumpJohn’s plump cheeks made him look younger than his age.
PortlyThe portly businessman struggled to fit into the airplane seat, much to the annoyance of the passenger next to him.
PotbelliedThe old man’s potbellied stomach jiggled as he laughed at the joke.
PowerfulThe bodybuilder’s powerful muscles rippled as he lifted the heavy weights with ease.
Prodigious The athlete’s prodigious height gave him an advantage on the basketball court.
ProtrudingSophia’s protruding belly made her feel self-conscious about wearing tight clothes.
PudgyThe pudgy child struggled to keep up with his classmates during the school’s annual race.
PuffyDavid’s puffy face was a result of his severe allergies.

Caution: this word is hard to use in a non-insulting way.
PunyThe puny wrestler was no match for his burly opponent.
Rail thinAlthough Grace was rail thin, she possessed a natural elegance and poise that made her stand out in a room full of people.

Caution: this word is hard to use in a non-insulting way.
RangyJared’s rangy build made him perfect for playing basketball.
ReedyThe reedy teenager struggled to gain weight despite eating plenty of food.
RegalThe Queen’s regal bearing made her stand out in any room.
ResilientDespite his small size, Rocky’s resilient body allowed him to withstand even the toughest of punches.
RicketyThe rickety old man’s bony frame made him look fragile and frail.
RigidThe rigid muscles of the bodybuilder were a result of years of intense weightlifting.
RottingThe rotting smell emanating from the overweight man’s body was a result of his poor diet and lack of exercise.
RotundThe rotund figure of the chef was a testament to his love of cooking and good food.
SaggingThe sagging skin on the arms of the elderly woman showed the signs of aging and loss of muscle tone.
ScrawnyMing’s scrawny frame made him appear much younger than his age.

Caution: this word is hard to use in a non-insulting way.
ShapelyRashida’s shapely figure turned heads everywhere she went.
ShortDespite being so short, Juan’s energetic personality made him stand out in the crowd.
Short staturedThe short-statured athlete proved that size doesn’t always matter.
ShriveledMrs. Patel’s shriveled hands betrayed her age.
SicklyThe sickly boy spent most of his time in bed due to his weakened immune system.
SinewyLiam’s sinewy muscles bulged as he lifted weights at the gym.
SizableThe sizable wrestler towered over his opponents in the ring.
SkeletalThe skeletal frame of the refugee spoke volumes about the hardships he had endured.
SkinnyCecilia was a skinny teenager who struggled to gain weight despite eating a healthy diet.
SlackMegan’s slack posture caused her back pain and other health issues.
SlenderThe slender ballerina moved gracefully across the stage.
SlightNazih’s slight build allowed them to excel in long-distance races.
SlimDespite the amount she ate, Sabina’s active lifestyle kept her body slim.
SlouchedAndrey’s slouched posture caused her frequent headaches.
SmallThe small boy struggled to keep up with his larger classmates in sports.
SoftThe soft belly of the elderly man indicated his love of good food and drink.
SolidKnud’s solid build gave him an imposing presence.
SpentThe spent body of the hiker collapsed on the trail.
SphericalMaurycy’s spherical belly jiggled as he laughed at his own jokes.
SpiderySpidery fingers moved delicately over the canvas.
SpindlyThe spindly legs of the baby giraffe made him look unsteady on his feet.
SpongyTheodard poked teasingly at Muhamet’s spongy belly.
SpryWith a spry body, Sunita was able to keep up with her grandchildren on the playground.
SquareThe square shoulders of the military officer indicated his discipline and dedication.
SquatThe squat wrestler used his low center of gravity to his advantage in the ring.
StackedMyron’s physique was stacked, impressing everyone at the gym.
StalkySpartak’s stalky build allowed him to work long hours in the fields.
StalwartAugustas was a stalwartly built man with hands as large as his face.
StarvedThe starved dog had a haunted look in his eyes.
StatelyBaihu was a stately man even without his robes of office.
StatuesqueThe statuesque beauty of the actress made her a natural for the silver screen.
Stick-likeConnla’s stick-like legs propelled her to victory.
StintedGrigori’s stinted growth and overly lean frame told of his parents’ neglect.
StockyThe stocky wrestler had a low center of gravity that made him difficult to pin.
StoopedMrs. Lee’s back had grown so hunched that she appeared to be looking at the ground as she walked.
StoutJohn’s burly frame made him a natural for the offensive line on the football team.
StrappingWith his broad shoulders and muscular arms, the strapping warrior commanded attention.
StringyThe stringy runner had long limbs that propelled him effortlessly forward.
StrongThe strong swimmer emerged from the pool, her powerful arms and broad back glistening in the sunlight.
StubbyDespite her short stature, the stubby wrestler was a force to be reckoned with on the mat
StumpyThe stumpy bulldog waddled across the yard, his short legs struggling to support his substantial frame.
StuntedAyane had a thick trunk and short arms and legs, but still exuded a quiet beauty.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
SubstantialMary’s substantial figure made her presence known to all.
SumptuousMalik admired the sumptuous curves of his lover as she walked towards him.
SuppleThe dancer’s supple body moved gracefully across the stage, captivating the audience.
SvelteAntonio’s svelte physique was the envy of his friends.
SwollenAfter eating too much salt, Maria’s swollen body felt uncomfortable and puffy.
SylphlikeThe model’s sylphlike frame was accentuated by the delicate dress she was wearing.
SymmetricalThe symmetrical beauty of the male bodybuilder’s muscles was awe-inspiring.
TautThe taut skin of the athlete’s body revealed every contour of his well-toned muscles.
ThickThe thick body of the bodybuilder glistened with sweat as he lifted the heavy weights.
Thick bodiedDan was a thick-bodied wrestler with powerful arms and broad shoulders.
ThickenedLily’s once slender frame had thickened after several years of sedentary office work.
ThicksetThe Viking’s thickset frame was the result of years of intense physical exertion.
Thick waistedSuchil’s thick-waisted curves were celebrated as an emblem of femininity.
TinyDespite her tiny frame, Sarah was a fierce competitor on the basketball court, able to maneuver around taller players with ease.
TitanicThe titanic warrior, who stood at a towering 7 feet tall, was a force to be reckoned with.
Top-heavyDespite his top-heavy build, Jake was an accomplished marathon runner, able to power through long distances with his strong legs.
ToweringThe towering figure cast a shadow over his opponents.
TremendousThe tremendous stable hand was able to lift twice his body weight with ease, thanks to his muscular arms and strong core.
TrimFintan’s trim frame was the result of hours spent in the pool training for competitions.
TruncatedThe truncated figure of the gymnast belied her incredible strength and agility on the balance beam.
TubbyThe tubby comedian made audiences laugh with his self-deprecating humor and jolly personality.
TwiggyDipa’s twiggy frame and delicate features made her a sought-after model in the fashion industry.
TwistedMarco’s twisted torso was the result of a severe car accident he had years ago.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
UnderdevelopedMaria’s underdeveloped muscles made it difficult for her to lift heavy objects.

Caution: this word is hard to use in a non-insulting way, especially when used for people born with physical irregularities.
UnderfedThe underfed athlete’s gaunt appearance was concerning to their coach.
UndernourishedThe undernourished child’s emaciated body was a heartbreaking sight.
UnderweightDespite her efforts to gain weight, Sarah remained underweight and struggled with her self-image.
UnmanageableThe unmanageable weight of the large man made it challenging for the paramedics to lift him onto the stretcher.
UnwieldyNurzhan’s unwieldy size made it difficult for him to fit through the narrow doorway.
VastThe vast expanse of the athlete’s chest muscles ensured he had to tailor all his shirts.
VoluminousSitti’s voluminous curves were accentuated by the tight-fitting dress.
VoluptuousThe voluptuous woman’s hourglass figure was the envy of many.
VulnerableMaria’s frail and vulnerable body trembled at the slightest touch.
Waif-likeThe peasant’s waif-like body was almost completely hidden by the oversized clothing she was wearing.
WanAfter being sick for weeks, he had become wan and pale.
Wasp-waistedLea looked stunning in her dress that accentuated her wasp-waisted figure.
WastedThe cancer treatment had left Karen’s body wasted and emaciated, but she was determined to keep fighting.
WaveringThe young boy’s wavering body struggled to stay upright on his new bike.
WeakDespite her weak body, the elderly woman was determined to live independently.
WeakenedEgidio’s weakened body struggled to lift the crates he used to lift with ease.
WearisomeThe weight of her wearisome body made it difficult for her to get out of bed in the morning.
WeightyJohn’s body was weighty, with broad shoulders and thick arms.
Well-fedHelen’s well-fed body had soft curves and plump cheeks.
Well paddedMark’s well-padded body made him well-suited for playing rugby.
Well proportionedElla had a well-proportioned body with long legs and a toned midsection.
Well roundedNate’s well-rounded body was a result of his love for good food and drinks.
WideMaria had a wide body with broad hips and strong legs.
WillowyHer willowy body was accentuated by long limbs and a small waist.
WiryDavid’s wiry body was lean and muscular from years of training in martial arts.
WitheredGrandma’s withered body was fragile and thin, but her spirit remained strong.
WizenedThe old man’s wizened body was wrinkled and frail, but his eyes sparkled with wisdom.
WobblyAfter the long hike, Tom’s body was wobbly.
WornAfter years of hard labor, Miguel’s body was worn and weathered, with deep lines etched into his sun-darkened skin.

DESCRIBE IT: WORDS TO USE WITH EXTREME CAUTION

  • Blooming
    Typically used to describe barely pubescent girlsbreasts and other sexual characteristics
  • Twisted
  • Girlish
  • Malformed
  • Crippled (do not use at all)
  • Deformed
  • Misshapen
  • Boyish

DESCRIBE IT: OUTDATED, CLICHE, OR OTHERWISE AVOID

  • Beanpole
  • Beanstalk
  • Beefcake
  • Beefy
  • Blimp
  • Blob
  • Blubbery
  • Bovine
  • Butterball
  • Cripple
  • Dumpy
  • Elephantine
  • Fat
  • Flabby
  • Healthy (vague)
  • Jelly bellied
  • Lardy
  • Porcine
  • Skin and bone
  • Whalelike
  • Unhealthy

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Breasts, Pecs, and Nipples – Sex Ed for Writers

In this post we quote sexual snippets from books and the internet for the purpose of education.
While you should be careful about proceeding if you are under 18, education about sex and the human body is important for everyone.

Poor sex education or the lack thereof does more than create terrible scenes in books and make the author look…questionable. It increases the chances of underage pregnancy, contracting or transmitting sexually transmitted diseases, increases the chances of sexual violence, and creates relationship issues. People without adequate sexual health knowledge may not know when to seek medical care that could save them from consequences, up to and including death.

As writers, we have an impact on how our readers see the real world. As such, we have a responsibility to research our subject matter and write from a knowledgeable place. Misinformation spreads misinformation, contributing to the problems listed above. it only takes a brief walk through any social media to see lack of sex education and misinformation turned against people to shame, humiliate, or belittle them.

In other posts, we will get into how to describe breasts, pecs, and nipples. This post is for sex education and guidance on biology.

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Need to Describe Bras? Head here: What We Wear: On Our Torsos – Bras

Helpful Definitions Going Forward

Gender

“Gender refers to the characteristics of women, men, girls, and boys that are socially constructed. This includes norms, behaviours, and roles associated with being a woman, man, girl, or boy, as well as relationships with each other. As a social construct, gender varies from society to society and can change over time”

Read the full article

source: World Health Organization

In this post and on this site, we refer to biological women and biological men, while acknowledging the trans and non-binary communities. All comments are screened, and hate will not be given the light of day.

Sex
(biological)

“Sex refers to a set of biological attributes in humans and animals. It is primarily associated with physical and physiological features including chromosomes, gene expression, hormone levels and function, and reproductive/sexual anatomy. Sex is usually categorized as female or male but there is variation in the biological attributes that comprise sex and how those attributes are expressed.”

source: Canadian Institute of Health Research

Sex
(act)

“Sex act means any sexual contact, actual or simulated, either natural or deviate, between two or more persons, or between a person and an animal, by penetration of the penis into the vagina or anus, or by contact between the mouth or tongue and genitalia or anus, or by contact between a finger of one person and the genitalia of another person or by use of artificial sexual organs or substitutes therefor in contact with the genitalia or anus.”

source: Law Insider

Secondary Sex Characteristics

Primary sex characteristics are reproduction based. Secondary sex characteristics may help people identify biological sex at a glance. They include breasts and ability to produce milk, facial and body hair, voice pitch, fullness of hips, upper body musculature, ability to develop muscle, menstrual cycles, and fat to muscle ratio.

Secondary Sex characteristics are more common in one biological sex or the other, but are dependent on chromosomes, genes, and hormones.

Fetish

“A form of sexual desire in which gratification is linked to an abnormal degree to a particular object, item of clothing, part of the body, etc.”

source: https://languages.oup.com/google-dictionary-en/

All About the Breasts

Source: https://www.researchgate.net/figure/Anatomy-of-the-female-breast_fig1_331954468

Here, we are going to discuss breasts specifically with nipples being their own section as not everyone has breasts as discussed here but most people have nipples.

Breasts overlay the pectoral muscles. In biologically female bodies, there is glandular tissue as well so they can produce milk. We will discuss milk production below in the Breastfeeding /Milk Production section. Breasts are secondary sex characteristics more or less specific to biological women, with biological men able to grow breasts if hormonal conditions allow.

Breast size is dependent on several factors: genetic factors such as where a person is most likely to accumulate fat, environmental factors such as exposure to hormone-mimicking chemicals, medications, and hormonal output. The shape of the breasts is dependent on the arrangement of connective tissue and ligaments within the individual person.

What Goes Wrong in Novels

Breasts are perhaps the most problematic in writing because they are front and centre. It’s hard not to notice them, they are highly fetishized, and writers can go a little awry when including them. Below, you will see examples from books that show exactly what the problem is.

FEMALE CHARACTERS DESCRIBING THEIR BREASTS AS THOUGH THEY ARE MEN

How often do you think about the back of the ear? The curve of your neck? The length of your legs? It’s about the same for breasts. People who have breasts live with them all day, every day. They’re not new. They don’t change shape or appearance often (puberty, pregnancy, age, etc.). As such, there is little remarkable about them except in the occasional times.

This post would get significantly larger if I included snippets of these scenes in books as they tend to run on. However, here are a few tips.

  • If you want to describe a woman’s body, avoid doing it by having her standing in front of a mirror and reflecting in painstaking detail.
  • Avoid info dumps. When describing anything, space it out. Give information where necessary. Work it in strategically. A run on paragraph describing any character from head to toe is painful to read.
  • Try to think about how you think of your body and include only what’s necessary. If you were a man thinking about your physique, would you describe your shoulders, your hands, the length of your legs, the size of your penis and its characteristics? Likelihood is no. Don’t write female characters having long, in depth thoughts about the size, shape, and perkiness of their breasts, or how those breasts affect the world around them.
  • If you are a man writing from a straight female perspective, remember that women tend not to think of their own bodies or other’s bodies the same way straight men might. We may notice an attractive figure, a woman with great breasts, or something else, but we’re unlikely to sit there and study them in detail, let alone sexualize those characteristics (unless, of course, we were sexually attracted to those features).
  • Your male characters may be straight and may be watching a woman with attractive breasts come across the room, but it’s unlikely they’re creating deep, poetic descriptions of them. Keep it simple. Unless those boobs are plot relevant, there’s no need to spend much time describing them.
  • DO NOT compare women’s breasts to childrens’. Ever.
  • DO NOT describe the breasts of children. Ever. This point and the one above are fabulous ways of making readers throw out your book, roast your character online, and question your personal morality, even if you write it from the point of view of a despicable character. If you can’t make your villain gross without pedophilia or rape, you are writing a weak character.

NEEDLESS DESCRIPTION OF THE BREASTS

Some writers have this weird need to describe breasts for absolutely no reason at all. This is extremely off-putting to readers unless there is context as to why they’re being described.

“Miss Desjardin, their slim nonbreasted gym teacher…”

There is zero reason to describe breasts in this circumstance. In this case, the author should have asked themselves “why am I including this?” Unless the teacher’s job is to use her breasts to educate (and all the ick that comes with that), it’s best to leave it out.

This author comes across as trying to use small breasts size to physically shame the character. Keep in mind, your breast preference is just that, your preference. By trying to force your preference through your writing, you alienate your readers. Especially the breasted ones.

“Angela ran for dear life; pistol in hand, one shoe untied, and breasts bouncing like two pit bulls who were trying desperately (sic) escape from the confines of her shirt.”

As the owner of a pair of breasts of notable size, if my life was in danger I would be completely oblivious to what my breasts were doing.

On top of that, I can only imagine the author sitting there going “I’m going to make the terror of a woman running for her life sexually appealing to my readers”, to which I say “Dude, you have issues!”

Finally, “two pit bulls who were trying desperately(sic) escape”…ho, boy. This one belongs in the next section as well.

“She was small breasted, intelligent, and capable “

To start, this screams of someone trying their damnedest to appear like they aren’t sexualizing a woman while simultaneously putting in a weird, random observation about breasts at the beginning of the sentence.

This might have been better done by saying why she is thought of as smart capable (showing not telling), and then mentioning physical attractiveness, not necessarily in the same paragraph. For example, “She had single-handedly gotten the mob boss convicted and given the maximum sentence, and that was as attractive as the rest of her…”

As with the first example, the author should have asked themselves why this was relevant information for the reader.

“He gave the tiny-breasted girl the barest shake of his head

There are a lot of issues with this small segment.

Firstly, do not use ‘girl’ unless talking about a child. Infantilizing women is problematic. Don’t know what infantilizing is? Don’t know why it’s problematic? Here is a great talk about it from study.com, which will give you a brief overview before asking you to register. You can also read this paper, Language as a social reality: the effects of infantilization of women. There is also this point form list of how infantilization of women impacts society. Then there is the general wrongness of attributing sexual characteristics to minors and valuing them as sexual/attractive. Unfortunately, a lot of this is done aiming at children just hitting puberty (8-13).

Finally, there is no situation in which talking about the woman’s (I’m giving them the benefit of the doubt even though they say ‘girl’, implying a minor’s age) breasts should be described here. What do her breasts have to do with anything here?

“Aomame mourned the deaths of these two friends deeply. It saddened her to think that these women were forever gone from the world. And she mourned their lovely breasts – breasts that had vanished without a trace.

We’re going to end on a completely WTF quote. Just for the fun of it.

USING BREASTS TO RELAY EMOTION

You might be surprised how many times this seems to happen. Breasts, and even nipples, are not affected by someone’s emotions. The best you might get is flushing with embarrassment or excitement. There is minor engorgement with arousal, but that would be less of a visual thing and more of a tactile thing as they’ll become firmer, but not so much they would become perkier.

Using breasts to express emotion will make people wonder about you in a bad way.

“She had breasts that smile”

No one knows what this author is trying to say. Not even remotely. That’s a huge writing sin! Also, this suggests boobs with faces.

“Noelle rolls her eyes. I think her breasts roll in synch with them.”

Breasts are fatty tissue on top of pectoral muscles, so while the muscle may move and thus move the breast, it would do so nominally at best. When you see something like burlesque dancers spinning nipple tassels, that’s a combination of shoulder and abdominal movement.

She was about to cover her startled breasts.

I assume the author is trying to relay that the woman is startled. Since breasts don’t relay emotion, it’s best to use other indicators of surprise like “she snapped her arms up to cover her naked breasts”

“Her large breasts rippled in appreciation”

My guess here is that the writer is trying to portray pleasure experienced at the breast. First, I’m going to have you imagine what breasts rippling would look like. I can just see these old cartoons that have a starving character with a stomach rumbling…only boobs.

Breasts are skin and fatty tissues with muscle underneath. Have you seen skin actively ripple? Fat? Muscle (especially muscle hidden beneath fat)? No? The idea makes me think of bugs under the skin, honestly.

Pleasure at the breast could be better described by sound (moaning, gasps, etc.), speech (saying how good it feels), tightening of the nipples, or other bodily reactions (like arching the back up toward to source of pleasure). In a first-person perspective, it can be more like a pleasurable tingle moves through the breast or seems to move through the body, even the throat. Most of that, though not all, comes from interaction with the nipple. However, nipple-havers everywhere regardless of gender, have different levels of sensitivity, ranging from no sensation to too much, or even painful sensation.

When she’d stopped crying, Madeline composed herself before the mirror. Her skin looked blotchy. Her breasts, of which she was normally proud, had withdrawn into themselves, as if depressed.

Breasts are not the equivalent of testicles, which I must assume the author was comparing them to. Testicles can retract or droop due to a number of factors (though sadness is not one, fear would be, arousal, or cold). Breasts cannot withdraw or expand like this, however. Bra fitting is already a nightmare, imagine we had to contend with shrinking and engorging breasts depending on how we were feeling!

Blotchy appearance after crying? Absolutely. But I have a couple questions:

  1. Why is this woman considering her breasts? Women live with their breasts day in and day out. Nothing is particularly extraordinary about them that would lead to introspection about the boobs. Breastrospection? Perhaps if they were putting their bra on and noticed it didn’t fit right. A causal observance of how a shirt fits. Getting dressed for a date where the woman wants to draw attention to or away from them. That’s about it.
  2. Why are her breasts experiencing emotion? Do they have a brain of their own and experience emotion differently than the rest of the woman?

“Her breasts pulsed with resentment”

This might also fit into the “only describe breasts when necessary” section. I can’t imagine the purpose of this line. There are certain circumstances where a woman might feel a pulse in her breast, but that is probably due to trauma to the tissue. The breast cannot pulse physically due to it being fatty issue overlaying muscle.

Thinking forgivingly, this author may have used ‘breast’ as another way to say ‘chest’. Only they used breasts. Plural. So, I doubt it.

“…whilst their gentle breasts were sad for their menfolk away in the midst of remorseless wars.

Once more, thinking forgivingly, I’m thinking this may have been the author trying to be poetic about referencing a group of women’s chests, or hearts. Remember that when you’re writing, it’s best to use terminology that doesn’t allow for misinterpretation.

As a special note, this is a good quote to call out overly florid language. Whilst, gentle breasts, menfolk, midst, remorseless wars. Each of these independently may not be overly florid, but with so many in a row this whole sentence comes off melodramatic.

MISUNDERSTANDING BIOLOGY

For something that doesn’t do a lot, breasts are wildly misrepresented in writing.

…her breasts nowhere near as big as they would be in the fall,

Breast size is not impacted by the season. What can affect breast size is genetics, maturity, time of the month (they may be swollen closer to menstruation), pregnancy, breastfeeding, with a not particularly noticeable increase in size when stimulated sexually. I would recommend against writing that breast size increases during sex. No one will notice the slight plumping. They may notice an increased firmness, however.

The only other explanation for this particular statement is that this is a girl hitting puberty. This means the author is currently describing the breasts of a girl between 8-16…and, repeat after me, “we do not write about the breast size of children”.

Her curved breasts were tense with concentration

Just like emotion, breasts are not affected by intense concentration. Again, I will call to the fact that breasts are fatty tissue, and while the muscle beneath that may be tensed by stress or anxiety, the fatty tissue cannot contract.

Extra point, there is no need to describe breasts as curved as breasts are curved.

“The left breast was fractionally larger than its sister. It was Anna’s favourite. She flexed it toward the wall. “

Yes, someone’s breasts can be different sizes. Yes, it’s possible someone has a favourite breast. No, they cannot be flexed. Once again, breasts are fatty issue on top of muscle. The muscle can be flexed but the fatty issue cannot.

“Before I could even think straight, the heavy bouncing of my breasts finished the job of waking me up.”

Even the largest breasted person isn’t going to be woken by the bouncing of their breasts before the bouncing of their body. Breast bouncing can be uncomfortable, but whatever force is causing them to move is acting on the body attached to them first. The only way this might make sense is if someone got away with grabbing the woman’s breasts and had begun rhythmically bouncing them while she was asleep. Even then, however, they’d likely be responding to the fact they’re being touched while asleep rather than aggressive breast bouncing.

“Belerra shook her head, her breasts swaying as she did”

Breasts can sway when the torso is moved but unless this woman is shaking her head AND shoulders VIGOROUSLY, her breasts are staying in place. As someone with a larger chest myself, I’m trying to imagine shaking my head alone with enough force to move my breasts…I’d probably snap my neck.

“Almost as if her heart had taken over her entire body, its pounding emanated outwards, causing her breasts to twitch with its surging pulsations”

This could have gone in the emotions section, but it speaks a bit more to a lack of understanding about biology. The ribs and sternum (bone) lie between the heart and the breasts, with no connective musculature. Even if there was, that muscle would attach to the pectoral muscles, and the breast is the flesh on top of that with no anatomy that allows for independent movement like this.

I could only imagine the force this person’s heart would need to be beating for them to even feel it in their breasts. They should probably call an ambulance because they won’t be conscious (or even alive) for long. Either that, or they have trauma to the breast tissue.

Pulsing in the breast is almost always primarily due to trauma to the tissue.

“Georgie stood out there longer than was comfortable, until her breasts ached from the chill and her hair felt as though it was shrinking”

There are certain times a person with breasts might feel cold on their breasts to a point they ached. 1. They are pregnant and the nipples are very, painfully, excruciatingly, sensitive to being cold. 2. They are topless with no bra on. 3. They are in menopause and are experiencing nipple tenderness. 4. They have significant hormonal fluctuations around their period. Otherwise, if you want to describe someone being cold, hands, face, feet, and thighs are your better options to describe.

Also…hair shrinking?

“…and the flatness of her breasts had already suggested that she was unmarried.

Marriage, sexual activity, number of sexual partners…none of these things impact breast size. Breast size is determined by genetics and hormones. While sex CAN and does impact hormones, those hormones are endorphins and oxytocin. Hormones that impact breast size would need to be constantly secreted over a period of time and are estrogen and progesterone.

“Her happiness flowed in the milk of her breasts and her baby grew quickly”

I believe it’s pretty evident that emotions don’t impact breast milk quality. I’m going to assume this person is trying to reference breast milk supply as the baby is growing quickly, thus would need to be getting lots of nutrients (pointing out the sin of leaving your readers guessing what the heck you’re talking about).

Stress, anxiety, and lack of sleep can impact the amount of breast milk produced due to increased cortisol. However, it would take significant, chronic stress and anxiety to affect the growth of the child.

To be fair, I sincerely believe this author is mostly guilty of using overly flowery language to try to get across what they want.

GETTING…OVER ENTHUSIASTIC…ABOUT DESCRIBING BREASTS

  • Her breasts were like pillows of dough
  • …noted how the tight fabric of their sports bras contained their breast flesh…
  • I mean there’s all kinds of breasts when you think of it, noisy breasts and quiet breasts and angry breasts and superficial breasts and arrogant breasts and shy breasts and probably lots of other kinds too;…
  • …the cleavage vibrating in a gelatinous way as she poured whiskey…
  • …her breasts wagging like little startled faces
  • They hugged, and Mama’s breasts wobbled against Sally like packets of mozzarella the size of footballs.
  • She wears a vest she couldn’t button if she wanted to, because her enormous boobs shove out her blouse like intercontinental ballistic missiles preparing for launch.
  • …full breasts with the veins running through them like good cheese.

NOTABLE MENTIONS: YOU DECIDE WHICH CATEGORY THEY BELONG IN

  • Jessie laughed and the motion rippled her breasts under the light purple top she wore.
  • Her face was flushed, and her rich breasts rose and fell.
  • A mistake was made somehow in manufacturing, putting those big, womanly breasts on what would of otherwise been a perfect work, and you can see how bitter she is about it.
  • …by those childish breasts so bravely sprouting into a barbaric world.
  • Deety was staring at the corpse and did not look happy-her nipples were down flat….Deety backed off and her nipples showed faintly-not rigid but she was feeling better. My darling keeps her feelings out of her face, mostly-but those pretty pink spigots are barometers of her morale.
  • …and grabbed her breasts through her shirt to check the shape. No Change. Same size and shape. I’m still the same me.
  • Her breasts looked round as radar globes, and she was tuning them on Homer.

Quick Facts About Breasts / Tips for Writers

Natural breasts are not so much round as more drop shaped. Think of a water droplet sliding down the side of a glass. Sometimes, the nipple brings them to a more pointed shape.

Women who have been pregnant are more likely to have breasts that sit lower or sag. Sagging has little to nothing to do with breastfeeding.

When a person with breasts lies on their back, the breasts separate, moving toward the arms. The amount they do this depends on breast firmness and size.

A bouncing breast, especially as size increases, is often found to be extremely uncomfortable. Proper bra support is integral to stop this.

Breasts with implants are generally a different shape than natural breasts, being rounder in appearance, and possibly sitting higher, though not always.

The nipple may be the pleasure centre of the breast (to varying degrees depending on the person), but the breast itself is also sensitive.

While every biological woman’s experience is different, breast sensitivity can increase near menstruation (or when that would be for those without uteruses due to biology or surgery). This can make normally pleasurable sensations painful.

Healthy breasts may engorge for a few reasons, but few people would notice aside from their owner. These reasons are: water retention (may be due to the menstrual cycle), pregnancy, major hormone fluctuations, or filling with milk in preparation to breastfeed, and arousal.

One breast can be a different size, shape, or position than the other. In fact, this asymmetry is found in about half of all biological women.

Statistically, the left breast is more likely to be larger.

The size of the breast is not reflective of the ability of the person to produce milk, or how much of it is produced.

Breast development is NOT impacted by sexual activity or virginity.

Breast size can increase ever so slightly when the breast is stimulated. They also become more veinous in appearance. The size shift, however, will be unnoticeable. Don’t include breast size changes like this in your writing. It is more of a firmness thing.

You cannot gauge cup size by looking at the breast. It’s complex… (see section on bras)

Exercise cannot change the shape, size, or perkiness of the breast, unless it drops the person’s body fat percentage. However, muscle can become visible around the edges of the breast.

Breasts in Media

It goes without saying that breast representation in media is problematic. There can’t be too little because that’s not feminine and not as sexual. There can’t be too much because then it’s distracting, and the character is always focused on as ‘slutty’ or otherwise hypersexual.

One example of this is the infamous picture of Keira Knightly in the King Aurthur movie poster. The actress herself has spoken out about the manipulation of her image to give her larger breasts.

But it’s not only photoshop that’s used to do with. Actresses who have smaller breasts are often ‘enhanced’ through make up to darken the shadows around the breasts and strengthen the highlights, wear inserts we often like to refer to as ‘chicken cutlets’, wear push up bras, etc.

Actresses with larger breasts are generally typecast as ‘slutty’ characters, attention seekers, and the sort. The actress themselves is also generally not taken as seriously.

In other media, such as novels, it’s often the same. Chaste characters have small chests and are often insecure about them, sexually active or promiscuous characters are well-endowed and always wearing low cut shirts and making sure everyone notices now big their chest is. There are outliers to this, obviously, but these stereotypes are much more prominent in media.

In reality, there are many smaller chested women who are perfectly fine with their size and many that are sexually active, even promiscuous. Larger chested women can be very conscious of their breast size, and they may have little interest in sex. Long story short, DO NOT play into stereotypes based on breasts, and remember that societal popularity of a certain look is no reflection of reality, nor does it speak to the diversity of preference of breast lovers.

Sexualization of Breasts

Cultures around the world view the breasts in diverse ways. There are cultures where breasts are not at all sexualized and viewed no different than a man’s chest, aside from their ability to provide nutrients for babies. Other cultures allow women to be topless in public or media without it being considered a big deal. Then there are cultures that not only view breasts as highly sexual in nature but have strict rules around if any of the breasts should be seen. And of course, everywhere in between.

The psychology behind breast attraction indicates that breasts do play an important role in human sexual behaviour. Humans even have a notably larger breast to body ratio than other mammals. It’s believed that the breasts developed this way in response to humans walking upright, with the breasts simulating the buttocks.

That said, much of the fascination with breasts comes from how sexualized they are in society. Like most things, if society is constantly talking about how sexually attractive breasts are, that encourages the thought patterns that help make it a common belief.

Breast Development and Puberty

Breast development is the result of increased sex hormones, predominantly estrogen. However, breast development does not necessarily stop with puberty. Breasts can change size throughout a person’s life.

Breast development can start before puberty, starting between 7-13. The average age of breast development starts between 10-11.

TIP FOR WRITERS: Just because a child begins breast development early does not mean that a writer should mention the breasts of a child. It is advisable to avoid talking about the primary sex or secondary sex characteristics of a minor. Ethics and morality aside, even if you are doing this to make a character seem horrible, readers will wonder why the author saw the need to do this.

Breastfeeding / Milk Production

Biological females have breasts that have lobes that produce milk when certain hormone levels are reached. The milk is then secreted through many points in the nipple

SAGGING

The idea that breasts sag after breastfeeding is a myth. Sagging is related to pregnancy-related weight changes and engorgement of the milk ducts. Even if the woman doesn’t breastfeed, some sagging may occur. Sagging can be impacted by genetics, loss of elasticity in the skin due to age or health-related concerns that impact elastic (like smoking).

BREAST MILK PRODUCTION

When breastfeeding, a woman will experience a “let down” of the milk. It is a notable sensation of the milk moving into position to feed the baby. It can be like a tingle or a literal dropping sensation. This can be triggered by the baby starting to feed, or the woman thinking about breastfeeding, or even arousal. When a let down happens, it can be easily manageable or may be so significant that the baby needs to be removed from the breast so they don’t choke from the amount or force of the let down. Breast milk can eject from the nipple with significant force and go an impressive distance!

I could get into all the details of this, but there is an article that covers this very well. This article from Babycenter.com covers everything from colostrum to what breastmilk is made of.

MILK SUPPLY

Anxiety and stress can cause a depletion of milk supply. Other factors include: waiting too long after birth to breastfeed, supplementing significantly with formula, medication, latching problems, stopping breastfeeding frequency or entirely. Here is a great article about what can cause a lack of milk production, from Today’s Parent. Breast milk supply can be increased through regular feeding or through breast pumping with a machine, which can either be manual or electric.

LEAKAGE

Women who are breastfeeding often leak breastmilk from time to time…or often. There is a market for products meant to help absorb this leakage which often look like padded disks that are held in the bra and placed over the nipple.

COMPLICATIONS

Breastfeeding doesn’t always go smoothly. Here are some common complications:

Baby Biting

Babys tend to bite, especially when they are teething (new teeth are breaking through the gums). This can be especially painful for the mother because she will likely have extremely sensitive nipples and may be suffering from chapping.

Chapping

If you lick your lips a lot, they will chap. The same thing goes for nipples. Feeding a baby regularly can cause chapping just like chapped lips, potentially up to bleeding.

Duct Blockage / Mastitis

Milk ducts can become blocked, leading to overfilled, tender, swollen breasts, and eventually infection. This is called mastitis. If the blockage is not cleared, like any infection, this can cause fevers, chills, pain, and sepsis.

Lack of Production

Many things can get in the way of a milk supply starting, continuing, or being sufficient. Here is an article on Breastfeeding and Delayed Milk Production.

FETISH ALERT

Probably not a surprise, there is a whole segment of people who have breastfeeding fetishes. This means they gain sexual pleasure from breastfeeding.

Healthcare for Breasts

BREAST CANCER

There are many variants of breast cancer. Though almost exclusively found in biological females, breast cancer can develop in biological males. This is generally due to the tumor’s dependence on the hormone estrogen that is found in higher quantities in biological women. Only 0.5-1% of men will develop this type of cancer. In the USA and Canada, 1 out of every 8 biological women will develop breast cancer.

To find information about the staging of breast cancer (Stage 0-4), head to cancer.ca‘s article linked here.

Therapy options for treating breast cancer can also be found linked here.

If you are writing a character who is living with cancer or those dealing with a loved one fighting cancer, consider heading to cancer.ca and clicking on the Living with cancer menu and selecting from there.

SYMPTOMS OF BREAST CANCER

  • Lumps
  • Abnormal breast discharge
  • Dimpling, redness, pitting of the skin of the breast (and breast skin changes should be addressed by a doctor)
  • Breast thickening
  • Change is size or shape of the breast
  • Change in appearance of the nipple, including areola (pigmented area surrounding the nipple)

SURVIVAL AND MORTALITY RATES OF BREAST CANCER

Caught early enough, this type of cancer is extremely treatable, resulting in high survival rates. In 2020, 2.3 million biological women worldwide were diagnosed with breast cancer with 685,000 deaths (not specific to 2020). Survival rates vary significantly around the world with first world nations having more than a 90% survival rate but other areas having as low as 40%.

Survivability is increasing on average 2-4% per year.

source: https://www.who.int/news-room/fact-sheets/detail/breast-cancer

FACTS ABOUT BREAST CANCER

Breast cancer is the most frequently diagnosed cancer in biological women (2018) worldwide, in exception of a few countries.

In 2021, breast cancer became the most frequently diagnosed cancer in the world.

1 in 8 biological women will develop breast cancer in their lifetime.

Up to 40% of biological women with breast cancer had no risk factors associated with it.

Breast cancer initially starts in the lining cells of the ducts or lobules in the glandular tissue.

prolonged breastfeeding, weight control, physical activity, avoidance of substance abuse and prolonged use or hormones and radiation can improve chances of not developing breast cancer by 30% (at most)

Some breast cancers are resistant to hormone therapy.

AT HOME SCREENING FOR BREAST CANCER

Regular at home screening for breast cancer is a vital part of breast health for people with breasts. It’s all about the process of looking for visual abnormalities and feeling for lumps or unusual soreness.

Breastcancer.org has an article all about how to do one, what to look out for, and what to do if you find a lump. To look into it, click the link above

MAMMOGRAMS

People with breasts who are older than 45 are recommended to have a mammogram every two years (as at 2022). This involves getting an x-ray of the breast which looks for early signs of cancer. To do this, the breast is compressed between two plates horizontally, then again vertically. Most feel discomfort, though some may not, and some may find the procedure painful. It’s usually advised to avoid scheduling a mammogram around the time the patient would be menstruating, as this time of the month can make breasts more sensitive.

Mammograms can also pic up cysts and calcium deposits, or any condition that creates a denser environment in the breast.

MASTECTOMY

A mastectomy is the removal of the breast and may include other tissue such as lymph nodes. While mastectomies may be done for other reasons, such as gender affirming, they are widely done to treat breast cancer or for prevention thereof for people at high risk of developing breast cancer.

While many mastectomies also remove the nipple, early-stage cancer diagnosis may allow for a nipple-sparing mastectomy.

For this treatment, one or both breasts may be removed, depending on the need.

Breast reconstruction may be offered to restore the appearance of the breast, but insurance may not cover this part of the treatment.

OTHER COMMON BREAST CONDITIONS

Breast cancer is not the only ailment that can affect people with breasts. There can also be:

  • Cysts – sacs or capsules of fluid buildup that can be semi solid more common in people 35-50 and those on hormone replacement therapy.
  • Fibroadenomas – lumps of glandular or fibrous tissue more common in those 20-40.

Cosmetic Alterations to the Breasts

Although you may immediately think of breast implants, breast augmentations can also include breast reductions or removal. They are not always performed for cosmetic reasons but to treat pain or reduce the risk of cancer.

STATISTICS

  • Nearly half of all breast augmentations are done between the ages of 19 and 34
  • 60% of breast augmentations in the US are done for cosmetic purposes.
  • Breast augmentation is the most preformed plastic surgery.
  • In the US, roughly 300,000 breast augmentations are performed per year

Breast implants do have a lifespan and warranty of about 10 years. This does not necessarily mean they need to be replaced after 10 years, however, they should be monitored closely via MRI.

People with breast implants need to continue to see a doctor about breast health and get mammography.

Breast implants require special attention and care for a period after implantation.

Implants may be saline or silicone. There can also be a fat transplantation.

Breast augmentation is a surgery that leaves scarring. Incisions may be made around the nipple, in the armpit, or the crease under the breast. The scar will fade but not disappear.

It may be helpful to get an MRI every 5-6 years if an implant is silicone to check on its integrity.

Breast implants may require additional surgeries to adjust them as changes to the body happen or scar tissue develops.

While not a guarantee, women can continue to breastfeed after implants.

Breast augmentation can also be done to reduce the size of breasts. This may be done to reduce pain or either physical or mental discomfort.

Breast augmentation may be done to even out the size of breasts (women can have different sized breasts)

Breast implants can leak or rupture.

Scar tissue may build up around implants, distorting them.

Risks include loss of sensation in the nipple, infection, rupture, and breast pain.

Breast implants will not prevent sagging, but a breast lift may help.

Mammography for people with breast implants may be more complicated.

Soreness, bruising, and swelling can last for weeks after the procedure.

During healing it may help to wear compression bandages or a sports bra. A woman should not wear an underwire bra for 6 weeks.

After breast augmentation, it is important to try to keep a steady weight as this can affect the condition of the implant and breasts

Women may require the implantation of a drain for 1-2 weeks after surgery to collect fluid buildup.

Sutures are placed in the breast that are inside to help create a fold or crease. These may cause a pulling or pinching sensation.

There will be lifting and exercise restrictions for 4-6 weeks after surgery.

Breast augmentation surgery, including reduction, may require taking time off work. Usually 1-3 weeks.

Men can get breast reductions to treat conditions such as gynecomastia.

Breast reduction can help people with breasts with chronic rashes under the breast, nerve pain, neck, back, and shoulder pain, and inability to participate in activities.

All About the Pectoral Muscles (Pecs) and Male Breasts

source: https://www.ncbi.nlm.nih.gov/books/NBK545241/figure/article-32427.image.f1/

source: https://www.dana-farber.org/program-for-breast-cancer-in-men/

Everyone has a set of pectoral muscles, how much of them is covered in other tissue is up to genetics. Arguably, a set of developed pecs is the sexual equivalent to someone’s preference in breasts…though the development of pecs is not related as much to genetics but to diet and exercise.

It is extremely important to recognize that pop culture representation of musculature is problematic. Some biological men can develop more muscle naturally, whereas the average person would require a high protein diet and constant dedication to working the muscles. A lot of the definition seen in movies, magazines, and other media is the result of the person preparing for a role or photoshoot for an extended period of time, then dehydrating themselves beforehand to thin the skin. After this, there is the lighting, make up, and postproduction editing. To put it plainly, they then get photoshopped. Musculature in media can also be prosthetics, where a literal body suit that looks like flesh is applied to the actor to give them the appearance of muscle they don’t have. In superhero movies and similar, often the muscles are worked into a rigid costume that appears skintight.

Because he is often associated with hypermasculinity, I’m going to use Jason Momoa as an example of this contrast between prep for a role and a more natural body.

Jason Momoa living his best life without (or with significantly less) extreme diet and exercise.
Jason Momoa prepping for a role with extensive, restrictive diet, exercise, and likely dehydration to enhance definition (also strategic lighting).

Why do I mention this? Because, as developers of media, it is important to keep in mind realistic expectations for people of all genders. If you want that male lead with all the rippling abs and bulging pectorals, make sure with give them a diet conducive to that, as well as a daily routine that includes working those muscles. They don’t just magically happen.

For any of you who are Chris Hemsworth or Marvel fans, you’ll know how absolutely MOUNTAINOUS Chris Hemsworth got for that. Everywhere. The man is a freaking beast in that movie. So, what did it take for him to get there? Let’s take a look at this video from a fitness enthusiast who followed Chris Hemsworth’s work out:

Other articles note that Chris Hemsworth was eating 6-8 times a day to get to some 4,500 calories in.

In one article, Chris says “The target weight we aimed for was quite a ways above where I’d been before. This was probably the biggest and fittest I’ve ever been. We had 12 months where I was at home just training and puppeteering the body and manipulating,…We’d try more swimming then try more martial arts and adjust calories. It was a really fun exploration. I got really big and fit but then just had to hold it for four months, which was very hard.””

What Goes Wrong in Novels

I was unable to come up with odd beliefs about the pecs/male breasts when it comes to writing. However, I’m sure that will change as time goes on. I’m SURE they exist.

One thing that is an honourable mention, but I get into repeatedly, is how men are very much portrayed as always having rippling pectorals, a big strong chest, massive mannmories (ok, this last one is something I made up), while doing nothing to achieve them. As mentioned above, having and maintaining large muscles takes a lot of effort and a strict diet regime.

Quick Tips for Writers

Just like with breasts, unless there is a reason to discuss men’s chests don’t get into needless description.

Do not use the pecs to describe emotions.

Men’s Breast Health

Gynecomastia is a condition that causes biological men’s breasts to be larger and more feminine in appearance. This can be corrected through breast augmentation.

Though rare, man can develop breast cancer

Signs and Symptoms of Breast Cancer in Men *

  • A lump or swelling, which is often (but not always) painless.
  • Skin dimpling or puckering.
  • Nipple retraction (turning inward)
  • Redness or scaling of the nipple or breast skin.
  • Discharge from the nipple.

* source: https://www.cancer.org/cancer/breast-cancer-in-men/detection-diagnosis-staging/signs-symptoms.html

Cosmetic Alterations for Male Breasts

A common surgery for male breasts is for a condition called gynecomastia (mentioned above). Biological men’s breasts don’t just come in square shapes. They can vary in size and shape, including taking on what is considered a more feminine appearance. Below is a graphic that shows that gynecomastia looks like.

source: https://www.ckbhospital.com/blogs/everything-about-gynecomastia-surgery-scars/

Life in the Wrong Body

Disclaimer: I am writing this as a cis woman unable to imagine the complexities of having been born in a body I cannot identify with. While I have many friends in the community and many friends who have undergone transitions, I cannot speak concretely about the experiences of a trans person. As such, please enjoy these videos. I hope they are informative for you.

For people who live in a body they do not identify with, having or not having breasts can cause gender dysphoria.

“Gender dysphoria is “Gender dysphoria is a term that describes a sense of unease that a person may have because of a mismatch between their biological sex and their gender identity. This sense of unease or dissatisfaction may be so intense it can lead to depression and anxiety and have a harmful impact on daily life.”…

“Many people with gender dysphoria have a strong, lasting desire to live a life that “matches” or expresses their gender identity. They do this by changing the way they look and behave.

Some people with gender dysphoria, but not all, may want to use hormones and sometimes surgery to express their gender identity.

Gender dysphoria is not a mental illness, but some people may develop mental health problems because of gender dysphoria.”

*source: https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life.

You will want to turn your volume up after the TedX logo.

Options are available to help someone feel more at home in their body. These options include breast augmentation, which can be expensive and not covered by insurance, and hormone replacement therapy for growing breasts. Pharmaceutical hormone therapy can also be expensive.

Gender affirming surgeries and hormone replacement therapy help trans people immensely with their confidence and feeling of belonging, where temporary solutions may unfortunately only provide temporary results. They are still often better than nothing.

Trans Men

For a man in a biologically female body, chest binders are an option but do come with risk. Here is an article about chest binders: Chest Binding: A Physician’s Guide.

To understand how these men feel, here is a very good video to watch to help you understand the experience and safety.

Trans Women

For women in a biologically male body, breast augmentation is an option but potentially prohibitively expensive. Gender Affirming surgeries may be covered in some countries, however.

Other options include bras with silicone breast forms inside, and hormone replacement therapy which increases estrogen and progesterone, allowing for the natural development of breasts.

I found Transgender Breast Prosthetics written by a trans woman, Andrea James, which goes through their knowledge and experiences with feminization.

Chest hair is also something that may contribute to gender dysphoria for these women.

Many options for fashion are not options, as they may show chest hair growth, a binder, or allude to a biologically male chest which can cause social issues that may further damage mental health.

If you know of a great personal experience story (video) I can link here regarding this issue for trans women, please let me know here or on Twitter @ShonnaTheWhite

Non-Binary People

Non-binary people are people who do not identify with biological gender. They feel neither male nor female. Their experiences with having breasts or a male chest will vary wildly depending on their experiences. They too experience body dysphoria. Having or not having breasts may not present an issue to them or may do so at times. On the other hand, they may prefer a more androgenous look that would allow them to present how they want at any given time.

Other Resources

Nipples

We’ve shown breast and nipple anatomy a couple times now, so we won’t bother getting into that here. Nipples, in regard to, breastfeeding has also been covered earlier. Instead, let’s get into:

What Goes Wrong in Novels

“She stopped, pursing her nipples toward him…”

Considering almost every person on the planet has nipples, I’m stumped on how this person believes someone has conscious control over the state of their nipples.

So, no, no one can purse their nipples on command. I’m just imaging this woman turning around and aggressively rubbing her nipples to make them erect. Considering this snippet implies anger…

“Her friendly nipples jiggled”

Put aside that this author is talking about a ‘teenybopper’, braless in a white t-shirt, and so is already creepy.

Nipples do not have the mass to jiggle, and I just want you to imagine that for a second. Also, friendly nipples… There is nothing redeemable about this description.

“…her nipples as pink and small and hard as a child’s…”

DO NOT, I repeat, DO NOT sexualize children in your writing or compare grown women sexually with children. This statement in the book makes me think that the FBI needs to take a good hard look into this author’s computer.

“…her nipples had crawled in on themselves…”

I’d like to give this author the benefit of the doubt that they were trying to talk about erect nipples in an unflattering way, exemplifying the fact the viewer didn’t find the character attractive…but I’m really not sure it was meant that way. The rest of the segment was rather matter-of-factly written.

“The breasts already heavy as globed fruit but also still those of an adolescent, the nipples not yet raised, the areolae strange, smooth dark-brown circles.”

*cough* I wish there weren’t so many authors describing the nipples of children *cough*

Nipples not yet raised. I’m not sure what the author is trying to say here (writing sin). Are they speaking of pointing directionally upward? That’s not a maturation thing. It’s a genetics thing. Are they talking about sticking out? Also, not a maturation thing. Nipples are not flat, though relaxed they can almost be so sometimes…in a still rounded sort of way.

I feel I need to add the following to be thorough: Areolae can be smooth, especially in people who have not been pregnant. As this character being described is fifteen, it’s very possible. The bumps on the areola are called Montgomery glands and are a combination of milk glands and sebaceous glands that secrete small amounts of oil to keep the nipples and areola protected from chafing.

Notable Mentions

  • …and the burgeoning breasts with nipples that overwhelmed them like the noses on the faces of baby seals.
  • No boldness in the ten-year-old-body, only the mild cruciality of youth, nipples flat and trivial as vaccination marks.

Nipple Facts

There are different types of nipples including flat, protruding, and inverted.

The areola is not your nipple. The nipple is the very centre portion.

Nipples can become chafed by excessive rubbing, such as a shirt rubbing during a marathon

Bifurcated nipples are a thing. That is, having more than one nipple per areola.

After breast reconstruction where the nipple has been removed, nipples can be tattooed on.

1 in every 20,000-30,0000 people are missing one or both nipples, a condition called athelia

Nipples and areola change size during pregnancy, becoming large.

Inverted nipples are perfectly normal

0.2% to 2.5% of people are born with extra nipples that lack glandular tissue. This is called polythelia, and they can appear anywhere on the body.

Nipples can change colour depending on temperature, age, or pregnancy.

A nipple may become erect for any number of reasons, not simply arousal. This includes being cold or just because it is, much like penile erections.

Nipples can face any direction, up, down, to the sides. It’s all up to genetics!

Nipple Health

If there is nipple discharge, you should see a doctor

Nipple sensitivity can be changed by breast surgery.

Leave the bumps in the areola alone! They are called Mongomery glands (areolar glands). They secrete lipoid fluid that helps keep the nipple from chaffing.

Sore nipples can be from a range of things including hormonal changes.

Hair around the nipples is normal in both biological men and women.

Both biological men and women have nipples as they form very early in gestation, before the genes responsible for the development of sex organs activate.

Nipple cancer (Paget’s disease) is rare but occurs in 1-4% of breast cancer cases.

Nipple stimulation can help induce labour.

Nipples and Sex

82% of biological women and 52% of biological men feel enhanced sexual arousal from nipple simulation.

Orgasms from nipple simulation are a thing. In fact, so are nipple orgasms.

Everyone responds differently to nipple stimulation. Some people may enjoy rough play, others may find it agonizing.

Changes in hormone levels during sex can cause nipples to become sore after sex. Treatment for this would be a warm compress, avoiding caffeine, wearing a supportive bra, and over-the-counter pain medications like Tylenol or ibuprofen

Like any other area of the body rich in nerve endings, nipples may become easily overstimulated.

Nipple piercing can increase nipple sensitivity due to the piercing itself stimulating the nerves more directly than through the flesh. Alternately, they can be uncomfortable for others during sex.

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SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK