how to describe dancing creative writing

How to Write a Dance Scene: 21 Best Tips + Examples

Writing a dance scene requires no less choreography than actual dancing. You need to understand the movement, pace, rhythm, and emotion.

Here is how to write a dance scene:

Write a dance scene by setting the stage, knowing the dance style, conveying emotions through dance, focusing on the rhythm and the pace, describing the dancers’ movements, and understanding your characters’ skill level. Carefully choose active and evocative language to match the mood of the story.

Here are 21 rocking tips on how to write a dance scene that truly captures the soul of the dance.

1. Understand the Dance Style

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Before you go tapping your pen on the paper, do a little jig and understand the dance style you’re writing about.

Get familiar with its movements, its history, the culture it originates from, and the emotions it typically portrays.

For example, a waltz and a breakdance ain’t the same thing, are they?

A waltz is all about elegance and grace, whereas breakdance is raw energy and agility.

If you mix them up, it’s gonna look like a soup with wrong ingredients, ain’t that right?

Example: Kelly’s feet moved effortlessly across the shiny parquet, every step, turn, and twirl a testament to the elegance of the Waltz. Onlookers watched in awe as she became one with the classic rhythm, her body flowing like a poem written in dance.

2. Show, Don’t Tell

Okay, we’ve heard this a million times, but it ain’t any less important.

When you’re writing a dance scene, remember: you gotta make your readers feel the dance.

Don’t just tell ’em that your character is a good dancer; show ’em!

Describe the movements, the energy, the facial expressions. Make your readers hear the music, feel the rhythm, and be entranced by the dance.

Example: As the DJ pumped up the beat, Jake was no longer a shy, introverted teenager. His body came alive with the music, every pop and lock in perfect sync with the rhythm. His eyes were intense, his smile infectious. Jake was not just dancing. He was the dance.

3. Use Sensory Descriptions

Writing is all about engaging the senses.

And when you’re writing a dance scene, you got a goldmine of sensory descriptions.

The slick sweat of the dancers, the pounding music, the glaring lights, the pulsating energy of the crowd – make use of it all!

Remember, your readers aren’t just visualizing the scene.

They’re feeling it, hearing it, smelling it. Engage their senses, and you’ll have ’em hooked.

Example: The dance floor was a riot of colors. The sharp scent of sweat mixed with sweet perfume filled the air. The music was a living entity, pulsating in time with the heartbeat of the dancers, each beat resonating in their chests.

4. Keep the Language Active

No one wants to read a passive dance scene.

Use active language to keep the scene dynamic and engaging. Instead of saying “The dance was performed by her,” say “She performed the dance.” See the difference?

Active language keeps your reader in the present, experiencing the scene as it unfolds.

Keep them on their toes, just like your dancers!

Example: Elena twirled, her dress flaring around her like a fiery halo. She was a whirlwind of energy, her feet barely touching the floor, her body bending and moving with the music.

5. Use Metaphors and Similes

They can add color and depth to your writing.

And when it comes to dance scenes, they’re your best friends. Instead of just saying, “He danced gracefully,” you could say, “He danced like a leaf in the wind.”

Doesn’t that paint a prettier picture?

Example: As the music started, Maria began to move. She danced like a feather caught in the breeze, light, effortless, and full of grace.

6. Reflect the Character’s Personality

Dance ain’t just movement, it’s a reflection of a person’s soul.

When writing a dance scene, remember to let your character’s personality shine through.

A shy, introverted character may take careful, measured steps, while an outgoing, energetic one may be all over the dance floor.

Each dancer has a unique style. Your character’s dance should be just as unique as they are.

Example: Even in the crowded room, Amy’s dance stood out. Every step, every movement mirrored her fierce independence and free spirit. She danced not to the music, but to the rhythm of her heart.

7. Choreograph the Dance

Think of yourself as the choreographer, and your pen (or keyboard) as the dancer.

You decide the moves, the pace, the rhythm. But remember, dance ain’t just about the big, flashy moves.

It’s also about the pauses, the transitions, the small, subtle movements.

When choreographing your dance scene, keep it balanced. Don’t overwhelm your reader with too many moves at once.

Example: As the melody played, Tom stepped forward, his arms outstretched. He twirled once, twice, before sweeping his partner into his arms. Their bodies moved in sync, each step and turn a beautiful testament to their chemistry.

8. Incorporate the Music

Dance without music is like a sandwich without fillings, ain’t it?

Incorporate the music into your dance scene.

Describe the rhythm, the tempo, the way it guides the dancer’s movements.

Your reader should be able to hear the music, feel its influence on the dance. Music and dance are partners, they move together.

Example: The music was a pulsating rhythm, a hypnotic melody that seeped into every corner of the room. As Lily danced, she moved to its rhythm, each step, each twirl in perfect harmony with the beat.

9. Reflect the Emotions

Dance is a language of emotions.

It’s not just about the physical movement, but also about the feelings it conveys. When writing a dance scene, let your character’s emotions flow through their dance.

Whether it’s joy, sorrow, anger, or love, dance is an incredible way to express emotions.

Example: As Sarah danced, every movement reflected her sorrow. Her body moved languidly, each step heavy with the weight of her grief. The dance wasn’t just a performance, it was a poignant expression of her pain.

10. Balance Description with Dialogue

A dance scene ain’t just about the dance, it’s also about the interaction between characters.

Don’t forget to include dialogue and character interaction. It adds depth to the scene and keeps it engaging.

Remember, your readers are there for the story, not just the dance.

Keep ’em hooked with the right balance of description and dialogue.

Example: “You dance beautifully,” he whispered, his hand resting lightly on her waist. She looked up at him, her eyes sparkling. “You’re not so bad yourself.” They were dancing again, lost in the rhythm of the music.

11. Use Appropriate Pacing

Dance is all about rhythm and pacing, and so is your writing.

The pace of your writing should match the pace of the dance. A fast, energetic dance should have short, sharp sentences, while a slow, graceful dance can be described in longer, flowing sentences.

Get your readers tapping their feet to the rhythm of your words.

Example: Boom! Crash! The drumbeats echoed through the room. Jake moved with them, his body jerking, twirling, spinning. It was fast, frantic, a dance that reflected the raw energy of youth.

12. Focus on Body Language

Body language is crucial in a dance scene.

How are the characters holding themselves? What expressions are they wearing? What does their movement say about their emotions?

Keep your descriptions focused on the body language to keep the scene vibrant and alive.

A good dance scene is as much about the dancer as it is about the dance.

Example: Lisa’s back was straight, her chin held high. Every movement was precise, confident. Her eyes were fierce, her lips set in a determined line. As she danced, she radiated power and control.

13. Use the Environment

The setting plays a big part in a dance scene.

Are they dancing under the glittering disco lights or under the soft glow of the moon? Are they in a crowded club or a quiet beach?

Use the environment to add depth and atmosphere to your scene.

Your setting is your stage. Set it up well.

Example: The beach was deserted, the sand cool under their feet. As they danced, the moonlight bathed them in a soft glow, the sound of waves crashing against the shore their only music.

14. Include the Reactions of Others

Dance is not just about the dancer, it’s also about the audience.

How are people reacting to the dance? Are they clapping, cheering, or watching in silent awe? Including the reactions of others adds another layer of depth to your scene.

A dance is a performance. And every performance has an audience.

Example: As Emma danced, the crowd went silent. All eyes were on her, watching in awe as she moved with grace and confidence. The applause, when it came, was thunderous.

15. Use the Dance as a Plot Device

Dance can be an effective plot device.

It can lead to a major revelation, a change in relationship dynamics, or a turning point in the story.

Use the dance scene to advance your plot and keep the story moving.

Example: As they danced, their bodies close, he whispered in her ear. “I love you.” The confession, lost in the rhythm of the dance, changed everything.

16. Understand the Role of Dance in the Story

Why is the dance scene there?

Is it just a fun moment, or does it serve a larger purpose? Understand the role of the dance in the story.

This will guide you in how much detail to include, how to pace the scene, and what emotions to focus on.

Example: The dance was their last moment of joy before the war. A moment to forget their worries, to lose themselves in the rhythm of the music.

17. Know Your Characters’ Skill Level

If your character has two left feet, it wouldn’t make sense for them to suddenly become a professional level dancer, would it?

Know your characters’ skill levels and portray their dance accordingly.

This will make the scene believable and relatable.

Example: As George clumsily made his way through the dance steps, there were a few giggles in the crowd. But he didn’t care. He was having fun, and that’s all that mattered.

18. Use Dance Specific Vocabulary

Words like pirouette, jive, and salsa aren’t just fancy terms.

They can add authenticity and precision to your dance scene. Don’t overdo it though, you don’t want your reader reaching for a dictionary in the middle of your scene .

Example: Lisa executed a perfect pirouette, her arms gracefully extended. The crowd cheered as she moved into a samba, her hips swaying to the rhythm.

19. Don’t Forget the Aftermath

What happens after the dance?

Are your characters breathless, exhilarated, or embarrassed?

The aftermath of the dance can add a lot to your scene and keep your readers engaged.

Example: As the music died down, Jake stood panting, a broad smile on his face. He might not have been the best dancer, but he certainly had the most fun.

20. Be Precise but Not Overly Technical

While it’s important to know your dance terms, don’t go overboard with technical jargon.

Your readers may not be familiar with specific dance terminology. Be precise, but keep it accessible.

Example: Anna glided across the floor, her feet performing the familiar steps of the tango. She spun and twirled, her body in perfect sync with the music.

21. Finally, Enjoy the Dance!

The most important tip? Enjoy the dance.

If you, as a writer, are enjoying the scene, your readers will too. Let loose, have fun, and let the rhythm guide your pen.

Example: The music was contagious, the energy infectious. As I wrote, I found myself tapping my feet, swaying to the rhythm. I was not just writing a dance scene. I was living it.

Here is a good video about how to write a dance scene:

How to Write a Romantic Dance Scene

A romantic dance scene, oh boy, that’s where sparks fly, hearts flutter, and romance blooms.

The trick is to capture not just the physicality of the dance, but also the emotions and the chemistry between the characters.

Use sensual descriptions, focus on the touch, the gaze, the subtle flirtations that add a layer of intimacy.

Remember, a romantic dance ain’t just about the steps.

It’s about the stolen glances, the shared smiles, the way the characters respond to each other.

This is the moment where their connection deepens, where they learn more about each other.

Let your descriptions evoke tenderness, longing, and a touch of passion.

Example: As the music played, they moved together, their bodies swaying gently to the rhythm. His hand was warm on her waist, his gaze intense. Every step, every turn brought them closer, their connection deepening with each beat of the music.

How to Write a Slow Dance Scene

A slow dance scene is all about grace and harmony.

It’s like a soft, soothing melody that takes its own sweet time to unravel. Here, you need to pay attention to the pacing, let your sentences flow smoothly, mirroring the gentle rhythm of the dance.

Use words that evoke calmness, serenity, and beauty.

Slow dances are often intimate and emotional. They aren’t about flashy moves.

They are also about feeling the music and connecting with your partner.

The focus should be on the small gestures – a gentle hand on the waist, a soft gaze, a slight smile.

Capture the quiet intensity, the raw emotion, and the romantic tension.

Example: The room was dim, the music a soft melody. As they swayed gently to the rhythm, time seemed to stand still. Her head rested on his shoulder, his hand gently holding hers. It wasn’t just a dance, it was a moment of quiet intimacy.

How to Write a Ballroom Dance Scene

The elegance, the beauty, the sheer spectacle of it all.

When writing a ballroom dance scene, you need to capture the sophistication and the formal nature of the dance.

Use elegant, polished language, and don’t forget to describe the setting – the grand ballroom, the sparkling chandeliers, the beautifully dressed people.

A ballroom dance is often a social event, a spectacle where people put their best foot forward (literally).

Your characters aren’t just dancing; they’re also interacting with others, showcasing their grace and skills.

So, include interactions, glances, reactions of the crowd. Let your readers feel the grandeur, the excitement, the thrill of the dance.

Example: The ballroom was a spectacle of glittering gowns and sharp tuxedos. As the orchestra played, couples took to the floor, moving gracefully to the rhythm. The room was abuzz with chatter and laughter, but all eyes were on the dancers, their movements an enchanting ballet of grace and skill.

How to Write a Club Dance Scene

Think loud music, flashing lights, and a whole lot of energy.

Your sentences should be sharp, fast-paced, matching the intensity of a packed club. Use sensory descriptions – the pulsating music, the sweaty bodies, the taste of cocktails, the neon lights.

Remember, a club ain’t just about dancing.

It’s also about the social interactions, the flirting, the tension.

Include the chatter, the laughter, the heated glances.

Let your readers feel the electricity in the air, the infectious energy that makes everyone wanna shake a leg.

Example: The club was a riot of lights and music. As the beat dropped, the crowd roared, bodies moving, feet stomping. It was wild, frenzied, a whirl of colors and sounds. Amidst it all, she danced, a whirlwind of energy, lost in the rhythm.

How to Write a Dance Scene in a Thriller

In a thriller, a dance scene can serve as a moment of respite or it could be a catalyst for further action.

The key is to maintain the suspense, the tension that’s characteristic of the genre.

Use short, snappy sentences, keep your descriptions focused and precise.

In this dance, each step could have a hidden meaning, each glance could hold a secret.

You need to build intrigue, keep your readers on the edge of their seats.

Is there a secret being revealed in the dance? Is someone watching them? Keep the adrenaline pumping, even in the dance.

Example: The music was a haunting melody, the dancers’ movements sharp and precise. Their eyes met, a silent exchange in the midst of the swirling crowd. As they danced, the danger was palpable, a shadow looming over the dance floor.

How to Write a Dance Scene in a Fantasy or Sci-Fi Story

In a fantasy or sci-fi story, the dance could be a part of a grand royal ball, a mystic ritual, or a futuristic disco.

The key is to incorporate elements of your world-building into the dance.

Think magical enchantments, alien rhythms, otherworldly grace. Let your imagination run wild.

In this dance, you’re not just describing the movements; you’re also showcasing the unique aspects of your world.

Are there magical effects enhancing the dance? Is the dance an ancient ritual with a deep meaning?

Use the dance to bring your world to life.

Example: The dance was a sight to behold, the dancers moving with an otherworldly grace. Their feet seemed to barely touch the ground, their bodies glowing with a soft light. As they danced, the air shimmered around them, the music an ethereal melody that seemed to resonate with the very soul.

How to Write a Dance Scene in a Script

Writing a dance scene in a script is a different beast altogether.

Here, you need to focus on the visual and the auditory, as you’re setting the stage for a performance.

Use action lines to describe the movements, the expressions, the reactions of the crowd.

Remember to also include any significant dialogue.

In a script, you’re not just writing for the reader, but also for the performers, the director, the choreographer.

Make sure to include the necessary directions but leave enough room for the creative interpretation of the team.

Your description should be a blueprint, not a straitjacket.

INT. GRAND BALLROOM – NIGHT The room is filled with ELEGANTLY DRESSED PEOPLE. The ORCHESTRA begins to play a waltz. ON THE DANCE FLOOR LADY CATHERINE, poised and graceful, begins to dance with LORD BENJAMIN. She moves with the elegance of a swan, he with the confidence of a lion. LADY CATHERINE (whispering) Be careful, my lord. There are eyes upon us. LORD BENJAMIN (laughs) Then let’s give them a show, shall we? They spin, twirl, their dance a captivating spectacle. The crowd watches in awe.

Words to Describe Dance Movements

When learning how to write a dance scene, your choice of words is everything:

Phrases to Describe Dance Movements

• Moved like a leaf in the wind
• Danced with reckless abandon
• Swayed like a willow in the breeze
• Spun like a top
• Glided across the floor
• Moved with the grace of a swan
• Twirled like a dervish
• Leapt like a gazelle
• Bounced to the rhythm
• Slid across the floor
• Stepped in sync with the beat
• Skipped with childlike joy
• Sashayed around the room
• Moved with feline grace
• Pirouetted like a ballet dancer
• Twisted and turned
• Flitted across the stage
• Hopped to the beat
• Gyrated with energy
• Shuffled in rhythm

Final Thoughts: How to Write a Dance Scene

I think we’ve covered dance scenes as thoroughly as possible in this guide.

If you’re looking for tips on how to write other kinds of scenes – car accidents or funeral scenes, for instance – check out the writing guides below.

Related Posts:

• How to Describe a Car Accident in Writing (21 Best Tips)
• How to Describe a Face in Writing (21 Best Tips + Examples)
• How to Describe a Smile in Writing (700 Ways & Examples)
• How To Write a Funeral Scene (Ultimate Guide + 20 Examples)

There's a dancing scene in the story I'm writing and I don't know if I better describe it or just mention it. If describing is better, can you give tips on how to describe a dancing scene? Thank you❤

Describing a Dancing Scene

A scene where your character is dancing, or watching other people dance, is definitely something that should be described. The only time you wouldn’t bother to actually describe it is if it’s just a trivial background detail, like your character happens to walk past a wedding reception taking place in a hotel ballroom. 

When describing dancing, you generally want to focus on three areas:

1. Movement 2. Music 3. Emotion

Movement - Is the dancing fast or slow? Is there a proper name for the type of dance or particular moves? What are hands and arms doing? What are legs and feet doing? How close together are the people involved in the dance? How are the dancers moving in proximity to each other and other dancers? How does the movement affect clothing? How does it affect others or the environment? Movement words: twirling, swirling, whirling, swaying, bobbing, dipping, gyrating, spinning, gliding, stepping, grinding, twisting, jumping, zigzagging, winding, undulating.

Music - What is the style of music? Is it soft or loud? Is it fast or slow? Is it live or playing over speakers? If it’s live, who’s playing it and what instruments are they playing? Do any particular instruments stand out in the music? Is there a solid beat? Does the music have a particular sound or sound quality? Music words: rhythmic, upbeat, fast tempo, slow tempo, rich, brassy, melodious, percussive, thumping, breathy, flat, light, smooth, energetic, lively, frantic.

Emotion - How does the dancing make your character feel, either as they watch or participate? What emotions are evident in their dance partner’s facial expressions and body language? If they’re watching others dance, what emotions are evident through their facial expressions and body language? (Remember that the music itself plays a big role in how people feel as they’re dancing to it. If you’re dancing to upbeat, loud music, you’re probably not going to feel mellow...) Emotion words: mellow, uplifting, relaxing, chill, joyful, cheerful, exhilarating, melancholy, calming, soothing, frenzied, sensual, merry, jubilant, tranquil, romantic, tender, wild.

Other tips: Go to YouTube and see if you can find video of people dancing like your characters (or whomever they’re watching.) Pay attention to all of the things listed above and take notes. You can also look up the specific dance or dance moves to learn more about it. And finally, find a willing partner (or a few) and try staging the dance scene yourself to a degree. Sometimes acting it out a little bit can help you get into the mind of your character. You may notice things about doing the dance, or watching it, that your character might also experience and notice.

————————————————————————————————- Have a question? My inbox is always open, but make sure to check through my FAQ and post master lists first to see if I’ve already answered a similar question. :)

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Mastering the Art: A Comprehensive Guide to Describing Dance in Writing

Ever watched a dance performance so mesmerizing, you’re left scrambling for words to describe it? You’re not alone. Capturing the magic of dance in writing can be as intricate as the dance itself. This article is here to guide you through the process, turning your words into a vivid dance performance on paper.

Whether you’re a dance critic, a novelist, or simply a dance enthusiast aiming to put your experiences into words, this article will equip you with the skills to describe dance in a way that does justice to its beauty and complexity. Let’s lace up our metaphorical dance shoes and waltz our way into the world of dance description.

Key Takeaways

• Dance is a wordless language where movement plays a significant role, giving emotion and meaning to every performance. Describing the intricacies of dance in writing lets others experience its beauty and complexity.
• To vividly convey the essence of a dance, one must breathe life into words, allowing readers to visualize movements, feel the rhythm, and understand the depth of emotive performances.
• Spotlighting concrete components that construct a dance, such as physical movements, emotional expressions, and the interaction with music, enhances the expression of the dance description.
• Utilizing high-energy verbs, vibrantly descriptive adjectives, metaphors, similes, and incorporating all five senses effectively enriches the dance descriptions.
• It’s important to effectively structure a dance description by setting the scene, building the momentum, and discussing the climax and the sequence’s resolution.
• Dance descriptions can be adapted for different genres such as fiction, where they mirror the larger narrative and serve as key plot elements, or non-fiction, where they communicate a sensory and emotional experience from observed reality. Both require a balance of technical dance terms with evocative language to engage the reader.

The Importance of Describing Dance

In the language of dance, movement plays the role of words, giving emotion and meaning to every performance. Making use of appropriately descriptive language provides us with the ability to communicate this wordless language, letting others experience the intricacies of the dance, even if they weren’t present for the live performance.

Capturing the Essence of Movement

Translating the fluidity and rhythm of dance into written form remains one of the biggest challenges for writers. Describing dance equates to breathing life into words, allowing the reader to visualize the twirls and leaps, feel the thrill of energetic beats, and understand the depth of emotive performances. For instance, instead of writing “she danced across the stage”, you could bring more life by writing “With every step, her slender form ebbed and flowed across the stage like a leaf caught in a summer breeze.”

The Challenge of Conveying Dynamism

With dance, there’s a certain dynamism that is hard to capture in writing. The swift changes of pace, the mix of soft and hard movements, the synergy between dancers, all these elements bring a unique challenge to the writer. Yet, it’s crucial to overcome these challenges to fully express the energy and vitality present in each dance performance. For example, instead of saying “The dancers moved quickly”, a more dynamic description would be “The dancers exploded across the stage, their movements sparking like fireworks against the backdrop of the music.” This not only communicates the pace but engrosses readers with imagery that conveys the vivacity and spirit of the dance.

Elements of Dance to Highlight in Writing

Cutting through the nebulous world of dance and delving into the concrete components that construct it, there exists an array of elements to spotlight transcribing dance in written form. To enhance the vitality and dynamism of your descriptions, a thorough understanding of these elements—the physical movements, emotional expressions, and interactions with music—becomes pivotal.

Physical Movements

At the heart of every dance lies a vein of physical actions—an inescapable choreography of movements that forms the skeleton of the performance. Emphasizing such movements, whether they be the delicate flick of a wrist or the explosive leap across a stage, affords an understanding of the dancer’s technical aptitude. Describing these elements, such as position changes, pace variations, and body isolations, generates a dynamic visual for your reader.

Consider a ballet performance—do the dancers display a sequence of pirouettes, leading to a grand jeté? Or in a hip-hop routine, does the performer showcase popping, locking, or breaking? Such specifics not only relay the essential physical actions but provide a sneak peek into the dancer’s skills and capacity for movement.

Emotional Expression

Dance, beyond the spectacle of physical prowess, embodies an expressive emotional language–an invisible thread interwoven into each performance. It’s in the furrowed brows of a dancer engrossed in conveying desolation, or the exuberant leap of a performer personifying joy. In writing, spotlighting these emotional cues adds depth, allowing your reader to connect with the narrative beneath the dance.

Take contemporary dance—the fluid movements could embody vulnerability, mirrored by the dancer’s slumped shoulders. Conversely, a tango performance can exude intense passion, mirrored by the dancers’ smoldering eye contact and sharp, assertive steps. Including such facets from the dancer’s emotive repertoire paints a detailed emotional landscape for your reader.

Interaction with Music

An often overlooked but integral element—how a dance interacts with the music it’s set to—can offer an added layer of depth to the reader’s imagined performance. How does a dancer embody rhythm, melody, or the subtle beats present in the music? How does their performance electrify, complement, or even contradict the soundscapes they are dancing to?

For instance, in a jazz dance , does the dancer emphasize the syncopated beats of the composition, their movements punctuated to the rhythm? In a ballet, does the performer float smoothly along with the violin-heavy serenade? Noting these interactions bolsters the reader’s grasp on the harmony or discord between dancer and music.

Effectively capturing the above elements in writing breaths life into your description, making the intangible world of dance tangible, compelling, and captivating for your reader.

Techniques for Effective Dance Description

Use of Vivid Adjectives and Verbs

To capture the vigor of dance in writing, adjectives and verbs serve as your best tools. Packed with energy, these words convey dynamism, speed, and intensity. Examples include “twirling,” “leaping,” “soaring,” and “gliding.” These verbs exemplify dancer movements, putting into words the physical actions onstage. A pirouette becomes “a swift, twirling movement,” while a leap transforms into “an agile soaring through the air.”

Adjectives, meanwhile, add color and depth to verbal dance images. Descriptors such as “feathery,” “rhythmic,” “graceful,” or “passionate” provide needed details, enhancing the expression of movement. Thus, if you desire to immerse your readers in a dancer’s world, pair your verbs with vibrant adjectives and dive into the diction of dance.

Incorporating the Senses

Dance goes beyond mere visual spectacle; it’s a sensory experience. Therefore, appeal to all five senses—sight, sound, touch, smell, and taste—when describing dance. This method promotes immersion, enabling readers to envision the dance as if they were in the theater.

Sight and sound serve as the most obvious senses to engage. Describe intricate costumes, expressive facial expressions, and the vibrant colors of the set. Narrate the rhythm of footfalls, the melody of music, and the hush of the audience.

Neglect not touch, smell, and taste. Invoke texture by discussing the silken threads of a dancer’s costume or the icy feel of a stage floor. Recount the smell of fresh roses thrown onto the stage, or even the taste of excitement hanging heavy in the audience. By involving all five senses, your reader steps into an immersive dance world.

The Role of Metaphors and Similes

Metaphors and similes offer a way to render dance in a relatable context, mirroring its elements with everyday life. Comparing a dancer to a swan, for instance, captures gracefulness and elegance in an image familiar to readers. Similarly, likening a series of quick movements to a fluttering bird effectively conveys pacing and energy.

Bear in mind, though, a balance exists. Too many metaphors can confuse your reader, clouding the actual description of dance. Utilize these figures of speech sparingly, resorting to them when they add distinct clarity or imbue your text with richness and breadth. With careful use of similes and metaphors, dancers spring from the page, engaging your reader in their vibrant world.

Structure of a Dance Description

Imagery enriches dance descriptions. Paint a vivid setting articulating the ambiance and the dancers’ preparation. Lay the foundation for the dance sequence, detailing how it builds momentum. Discuss the climax and the sequence’s resolution, tying everything together. The structure plays a fundamental role in how effectively the dance is communicated to the reader.

Setting the Scene

The beginning of a dance description sets the scene. Introduce the dancer or the dancers (for example: a poised ballet dancer or an energetic street dance crew). Provide an assessment of the stage setting including lighting, its colors, and intensity (for example: elegantly dim with sapphire blue lights illuminating the stage). Explain the audience’s anticipation, their silence or cheer, setting the emotional tone (for example: the audience holding its collective breath in anticipation).

Building the Momentum

In terms of building the momentum, the initial movements initiate the rhythm. Detail the dancer’s movements, clothing rustle, footwork pace, and synchronization with the beat (for example: the tap dancer’s shoes clacking rhythmically against the polished floor). Discuss how the energy and emotion escalate, resonating in the audience. Describe how that energy transcends the initial rhythm leading into exhilarating sequences (for example: the dancer’s swaying becoming more frantic, keeping the audience on the edge of their seats).

The Climax and Resolution

Every dance performance reaches a pivotal point—the climax, the most intense part of the performance, which can be a stunning solo or breathtaking acrobatics (for example: a backflip followed by a complex set of spins). Discuss how the sequence transitions into the resolution, the final moments of the performance where dancers prepare to disengage, the energy subsides, and the performance wraps up (for example: dancers slowing down, coming together for a final tableau). An exquisite dance description encapsulates the intensity of the performance, from the anticipation-filled beginning to the soothing end.

Incorporating Dance Descriptions into Different Genres

Incorporating dance descriptions into diverse genres delivers distinct modes of expression. It’s a process reliant on technical knowledge of dance terms, awareness of genre-specific conventions, and a creative flair for engaging readers.

Describing Dance in Fiction

When writing dance in fiction, it’s important that dance descriptions mirror the larger narrative. Rather than relaying detached movements, fictional dance sequences ideally become key plot elements. Think about physicality first, the tangible shifts in motion that lend themselves to a page. However, don’t forget the internal landscapes of your characters – the feelings spurred by rhythm, the thrills of swift motion.

Consider a historical novel set against the backdrop of Medieval France. Your protagonist, a street performer, loves executing an exhilarating ronde de jambe in a bustling city square. The precise movement, with the circular sweep of the leg extending out from the hip and returning close to the ground, provides an opportunity for intricate description. Perhaps it evokes an involuntary gasp from the crowd, maybe it catches the eye of an influential bystander. The dance becomes a narrative device serving context and moving plot forward.

Remember, directness is your friend here. Opt for powerful, evocative words: “slide,” “leap,” “twirl,” instead of vague descriptions. Write about how the character interacts with the music, how it flows through their body. Communicate emotions stirred within them by these movements. From the flush of triumph to a bittersweet pang, let the dance be a gateway to their inner emotions.

Writing About Dance in Non-Fiction

Non-fiction dance descriptions deal more with observed reality than imagined narratives. Yet, similar principles apply. You’re still tasked with translating the sensory and emotional experience into words.

When writing dance critiques for a magazine, you might describe a well-executed pirouette in a ballet performance. Explain the dancer’s elegant turning motion, their outstretched foot drawing a steady circle on stage, the focused whirl of their body. Offer insight into the technical aspects without losing sight of the dance’s overall artistic impression.

Non-fiction descriptions often necessitate a certain authority. Hence, integrate dance terminology when it benefits the readers and doesn’t disrupt the fluidity of your sentences. However, do avoid jargon overload; your readers might not all be dance aficionados. Balance technical details with layperson terms, and pepper in individual impressions for a more relatable read.

Dance writing in non-fiction can take form in an autobiography, a memoir, a biography, or a critique, granting you ample scope to dive into various writing styles and adapting your dance descriptions accordingly.

So, you’ve navigated the intricate dance of words, exploring the art of capturing the rhythm, emotion, and movement in your writing. By now, you understand how to use vivid language, sensory details, and relatable metaphors to bring dance to life on the page. You’ve learned to weave dance descriptions into your narratives, making them integral to your character development and plot progression. You’ve also grasped the balance of technical and accessible language when critiquing real-life performances. Remember, dance is a language all its own, and your words are the choreography. Whether you’re penning fiction or non-fiction, you’re now equipped to portray the beauty and power of dance in your writing. So go ahead, let your words dance!

Why is vivid language important in describing dance performances?

Vivid language helps to capture the energy and movement of dance in a way that engages readers, conveying the emotions, meanings, and intricacies of the performance. It can provide a sensory experience, rendering dance in relatable and evocative ways.

How do specific elements like physical movements, emotional expressions, and music interactions contribute to dance writing?

These elements are crucial for offering insight into the artistry of dance. Physical movements indicate the technique, emotion implies the performative aspect, while music dynamics demonstrate the dancer’s rhythmic synchrony.

What techniques are suggested for effective dance description?

Techniques include using strong adjectives and verbs, incorporating sensory details, and employing metaphors and similes. These can help evoke the vigor and passion inherent in dance , making it accessible to readers.

How imperative is imagery in the structure of a dance description?

Imagery is vital in setting the scene, building momentum, and highlighting the climax and resolution of a performance. It brings a dance performance to life, painting a vivid picture in the reader’s mind.

How does the article suggest incorporating dance descriptions into fiction and non-fiction writing?

In fiction, dance descriptions should intertwine with the narrative, contributing to plot development and character emotions. In non-fiction, writers should balance technical terms with accessible language, often critiquing performances in an approachable way. They should adapt their writing styles according to their genre.

Related Posts

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Understanding Liturgical Dancing: A Deep Dive into its Traditional Roots and Modern Adaptations

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How to write a dance.

The art and life of Mark di Suvero

Remy Charlip and the problems of dance notation.

“Flowering Trees,” a page from Remy Charlip’s Air Mail Dances .

O body swayed to music, O brightening glance, How can we know the dancer from the dance? —W. B. Yeats

How do you tell a person in another place or time what a dance looks like, and how it should be performed? You could use words, describing, second by second, the movements made by every dancer on stage—but inaccuracies would creep in. Take an instruction as simple as “lower your arm”: How would the precise angle, attitude, and displacement of the arm be explained? As an algebraic vector? And what about the hand, the fingers, the knuckles, the rest of the dancer’s body—what are they doing? Such a method would come to resemble programming code, in which reams of language and symbols come to stand for something that’s supposed to look simple and elegant. The problem is that a dance is read by a human, not a machine.

What about images, then? You could reduce the dance to two dimensions, represented frame by frame, using diagrams and drawings. Yet even for a short sequence, you’d need so many! It would come to resemble a flip-book or an animated GIF , preempting the most efficient and simple method we’ve ever had to record dance: moving images, or film.

Before we had image-capturing technology, the need to preserve dance, as a record, gave way to attempts to write dance down. Dance notation , the symbolic representation of human movement, has developed into systems for making graphics recognizable as living movement. Traditional dance notation marks a path through space and a relationship to music. As Edward Tufte writes in Envisioning Information (1990), “Systems of dance notation translate human movements into signs transcribed onto flatland, permanently preserving the visual instant.” It’s a question of “how to reduce the magnificent four-dimensional reality of time and three-space into little marks on paper flatlands.” Dance never looks the same twice, unless it’s on film.

In the seventeenth century, around the same time he built Versailles, Louis XIV commissioned a method that became the Beauchamp-Feuillet system, made for Baroque dance, “La Belle Danse,” popular in the court. With Baroque, dance became a discipline, not just a pastime, in the Western world. Beauchamp-Feuillet was meant to teach courtiers the steps to the latest dance, but the result was that the style spread far beyond the court. (It was Raoul-Auger Feuillet who first notated the basis of ballet movement, the five positions of the feet.)

With Beauchamp-Feuillet, Baroque became a form of dance that, more than almost any other, exists in relation to its own notation. It alphabetizes the body, using it as a system of grammar. Beauchamp-Feuillet, unlike many previous forms of notation, envisions and uses the space in which the dance takes place—a square or rectangular room—as a page on which the body moves like a hieroglyph, making the writing.

A page of Beauchamp-Feuillet notation, circa 1721. In this case, a male dancer on the left and a female on the right begin upstage, facing downstage. In the first moments of this dance, the couple starts with feet at different angles, with the heel of the back foot touching the floor. Time value is indicated by lines that cross over the central line of direction. Beauchamp-Feuillet was useful mostly for representing a series of movements that were already recognized and encoded. It was difficult to indicate precise arm movements.

Remy Charlip, who died in 2012, was a founding member of the Merce Cunningham Dance Company, and an author and illustrator; a vital presence in New York from the fifties on, he worked with John Cage, Frank O’Hara, Edward Albee, and Robert Rauschenberg. A master of irreverence, and of sidestepping expectation, he taught a course at Sarah Lawrence from 1967 to ’71 in “making things up” and for two years directed the National Theatre for the Deaf.

Like Baroque dance in the court of Versailles, Charlip’s Air Mail Dances depend on notation for performance—they originated from drawings on cards. Charlip began to make these dances in 1971, having promised to choreograph a dance for his friend Nancy Lewis and then forgotten about it. When he was reminded, with a fortnight to go until the performance, he drew the rough positions on postcards: figures in different poses, demonstrating the landmarks for the dancer to pass through. The transitions between drawings he left up to the performer.

“I did a whole set of positions, of movements, signs,” he said in an interview . “I gave her gestures that I thought were very beautiful and between the gestures I said do a turn. And I left it up to her … It’s their dance, and it’s also my dance.” His figures are sometimes annotated—some with clear instructions, like “roll slowly,” others with more abstract suggestions, like “crackle.” Charlip’s drawings are rough, beautiful, and endearing, a reminder of how much the choreographer relies on the dancer to realize a work.

Charlip liked to play with the way we conceive of dance movements. On a recent Friday at the 92nd Street Y, a program put together by Catherine Tharin called “ Remy Charlip: I Love You ” restaged a number of his works. In his series “Imaginary Dances,” performed at the Y by David Vaughan, choreographic instructions for would-be performances are read aloud with a cheeky apology that, due to lack of funding, they can’t be performed. In “Waiting Dance,” we hear: “Curtain rises. Any number of people on stage, all waiting, for as long as they want to. Curtain closes.” And in “Sardines”: “Eight boys and girls undress and get into a bathtub. They arrange themselves comfortably. The choreographer pours warm olive oil over them. Curtain.”

Some, like “Storm,” are fantastical:

A special well-drained waterproof room is constructed, where over the audience’s heads, a glorious sunset is enacted, cross fading into a full moon rising among stars. Clouds arrive, become denser, and turn everything into darkness. Thunder, lightning, then droplets of rain slowly build up to a shower, then a storm. Hurricane, tornado and flood may be added if budget is big enough.

Charlip’s performances show us how images in the head of a choreographer become the movement of another person. His system of notation—irreverent, idiosyncratic, imprecise—makes visible the process of idea to movement. “The language of dance,” he said once,

is basically physical … there are lots of ways language can be used to convey the physicality of it, and the images and thoughts that are used in dancing … you can get behind a person and you can move them, or you can be in front and have them imitate you. Or you can give them an image … so that they can move from the images.

Among the Air Mail Dances is “Dance in a Bed,” two pages of images, showing movement that takes place in (yes) a bed. The Y showed a film of its first performance, by the dancer Toby Armour: slow and languid, she wears backless silk pajamas and is accompanied by Saint-Saëns’s Le Cygne . But the piece has also been performed by Sally Hess to quick and restless Shostakovich music, and called Nuit Blanche , for a sleepless night. The same choreography inspires two different performances: one for those of us who jump quickly out of bed, and one for those who press the snooze button.

“Remy Charlip: I Love You” at the 92nd Street Y. Photo: Julie Lemberger

Today dance notation is arcane, and mostly inessential to the art of dance. Even the two most prevalent systems, Laban and Benesh , don’t enjoy wide literacy among dancers. Lincoln Kirstein, of the New York City Ballet, wrote in his Ballet Alphabet,

A desire to avoid oblivion is the natural possession of any artist. It is intensified in the dancer, who is far more under the threat of time than others. The invention of systems to preserve dance-steps have, since the early eighteenth century, shared a startling similarity. All these books contain interesting prefatory remarks on the structure of dancing. The graphs presented vary in fullness from the mere bird’s-eye scratch-track of Feuillet, to the more musical and inclusive stenochoreography of Saint-Léon and Stepanov, but all are logically conceived and invitingly rendered, each equipped with provocative diagrams calculated to fascinate the speculative processes of a chess champion. And from a practical point of view, for work in determining the essential nature of old dances with any objective authority, they are all equally worthless. The systems, each of which may hold some slight improvement over its predecessor, are so difficult to decipher, even to initial mastery of their alphabet, that when students approach the problem of putting the letters together, or finally fitting the phrases to music, they feel triumphant if they can decipher even a single short solo enchaînement. An analysis of style is not attempted, and the problem of combining solo variations with a corps de ballet to provide a chart of an entire ballet movement reduces the complexity of the problem to the apoplectic.

In other words, the very idea of trying to hurry along in the wake of a dance and record its movements is inelegant. But Charlip’s dances show us the fluidity between the dancer and the scribe: they allow us to think of notation as a way to invent movement, rather than just try to preserve and petrify it. One of the chief features of his drawings is their accessibility—they’re like invitations to the audience to join in.

On a radio show, Charlip once spoke about a book he wanted to make, a kind of do-it-yourself instructional manual of Air Mail Dances:

It would be called Dances Any Body Can Do . And they would be mostly household dances, like, dance in a doorway, dance on the stairs, dance in a bed, and other dances that you can do that would be very simple. And I’d like to do a second book called Advanced Dances , and those would require more technical proficiency. And then I’d like to do a third book, and those would be called More Advanced Dances , which would be very difficult to do, like dancing on the tip of a candle flame, or dancing on a cloud …

And here, the recording trails off.

Anna Heyward is a writer and reporter in New York.

Write that Scene

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How to Write a Party Scene

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• Choose a theme. For instance, is it a college party, a kid’s party, or a Halloween party?

» A. Use this, if you are writing about a college party or a party with adults.

I.       Frat parties: Free endless drinks everywhere. Sometimes they’ll be on the floor to or when you first step out the car there’s normally beer bottles strewn about on the lawn. There is really loud thumping music, usually the popular stuff of the time mixed with some old classics.   II.       Mostly everyone is drunk/tipsy, with a few people in clusters sitting around outside either making out, dancing somewhere, drinking or just talking. The occasional drunk person may be stumbling around. Talk about how the place looks as well. Occasionally having that many drunken people can destroy a house or building.   III.     Inside its normally hot and sticky and sometimes dark. People may fake getting drunk and there will be girls taking their shirts off.   IV.     If the party has drug dealers and they’re dangerous people, they may be in a corner deep in the party or upstairs in a room. Example 1:  The messy room had empty bottles laid on the ground, waiting for someone to trip over them. I almost was a victim. As for the people in this crowded area, they looked reminded me of the beer bottles: empty and useless. As I stepped over the god-awful mess, I noticed the music playing in the background. The tunes sounded like my own music I just recorded in the studio. Ethan was right, Paul did choose my song for his party. All of a sudden, this party wasn’t so bad after all. Well, at least with my voice singing in the background.

» B. Continuation of letter ‘A’…

I.    House parties: These are usually more friends and everybody usually knows somebody. It can either be very packed and hot, or just like twenty people. There are usually drinks but they run out way faster, more of a laid-back environment. There is music, but not loud crazy fun because their most likely trying to avoid the cops.   II.       At any college party at any given time there is a game of spades or beer pong going on depending on the crowd and what they’re into. Example 2:   

 “Hey bro,” Ethan said, coming over to give me a handshake. “How’s it going. Are you likin’ the party?”

I nodded. “Very much so. I am delighted to have been invited to attend.”

Ethan slapped me on the back. “Stop with such nonsense.” He chuckled. “You talk to proper. Loosen up, don’t be so stiff.” He shoved a beef in front of my face. “He, drink it. You need it more than anyone in this room.”

I smiled and reluctantly took the bottle and started to drink. “I don’t plan on staying long, Ethan. I just wanted to make sure Paul was playing my music.”

Ethan put a hand to his ear as if listening to something far away. “Here that…. that’s your song. Now you know I wasn’t lying. Anyway, if the music producer who Paul invited likes your CD, he might just sign you on his a record label.”

I dropped the beer and said, “What- what? Record label, music producer, here, tonight?” The words were heavy when coming from my mouth.

“Yep. But, unless you stay for a little longer there is no way he’ll be able to meet you. So, go on if you want.”

“No– uh,” I grinned, “I’ll stay.”

“Are you sure?” Ethan picked up the beer from the ground and handed it to me.

“I’m sure,” I said eagerly.

That evening I played beer pong, strip tease and whatever else the crowd decided to do. I lost each game and made a fool of myself, but I kept remembering why I was doing this. I worked for seven years on my album. I did everything I could to reach the big leagues in the music industry. If getting a record label deal with Johanson Smith meant that I had to act like I wanted to be here, then by golly I am going to win an Oscar for my performance.

• If you plan on writing about a different party…

» A. Does the character meet anyone at the party?

Several hours past and still Johanson Smith hadn’t shown up. It wasn’t until Paul came out his room, drunk, with a beautiful girl by his side that I decided to leave. As he walked gracefully down the stairs (or try to) I ran to meet him halfway.

“I refuse to stay any longer,” I said to him. “This is getting out of hand. I only came to hear my song played and I only stayed because your brother said Johnason the music producer was coming. Where is here?”

Paul didn’t answer so I shook him silly until he….. threw up all over my shoes.

“Gross. Yuck, damn!” I shouted. “I hate you, I hate all of you.” Everyone in this messy room was staring at me in silence.

“Dude, just chill,” Ethan told me.

“I don’t think so.” And with that, I walked out of the house, got in my car, turned on the engine and prepared to leave the scene. I couldn’t believe I trust Ethan. Seriously, I should have known by now. For goodness sake he was Paul’s brother, of course there wasn’t any good in him. 

» B. Most of all, is the character enjoying their self?

I.     Show their inner feelings through their actions. Do they stay by the punch bowl, avoiding everyone?   II.      Do they leave early because they’re bored or socially awkward?   III.    Are they the life of the party, dancing with everyone and initiating fun games? Example 4:   

Before driving off I thought for a moment about returning to the party. I mean, I did have fun and I never experienced so many people treating as if they were my friends before. And if only for one night I can— never mind. What was I thinking? Some people just never change, especially Paul. Stepping on the gas pedal, I drove away from the dreaded house I had come to despise. I tried to stop thinking about how I was lied to by Ethan. I tried to stop thinking about the nasty smell that was lingering on my shoes thanks to Paul’s barf. And I tried to, and I tried to…WATCH OUT!!!!!!

I woke up in a hospital with my neck wrapped and two limbs. “What’s going on?” I said to Ethan who happened to be by myside.

“You were driving drunk. More than .12 was your alcohol consumption. “

“Shit, there goes my license, car and wallet,” I said, banging myself on the head.

“Actually,” Ethan continued, “You ran over a person.”

“You’re kidding.” I slammed my head into the pillow. Not only did I just screw up my night, I screwed up my entire life. No lawyer would be able to get me out of this mess. “Are they dead?”

Ethan nodded.

My eyes widened and I felt my heart beat a million miles per hour. “Who did I kill? Tell me?” I wished I could just reach out and shake him silly. He wasn’t saying anything. “Please,” I started to cry, “please tell me. I can take it.”

“Johanson Smith,” said Paul, walking into the room with a slight smirk on his face.

“You’re lying,” I said quietly. Then I began to yell it. “You’re lying, bastard!!”

Ethan finally spoke up again. “He’s not. You were driving you truck when you hit him without realizing it. He was headed to our house party.”

“He’s right,” Paul joined in. “These were the papers Johanson was holding.”

I read the papers. They were contracts. Record label contracts for me.

Paul sat at the end of my bed and held his head low. “I’m sorry,” he said. A tear fell from his right eye. “It was meant to be a surprise for all the trouble we caused you over the years. I’m soo sorry.”

Ethan went over to rub Paul’s back. I managed to suck in my sniffs in order to say this:

“So where does that leave me? What happens now?”

Paul and Ethan looked at each other. “The cops are going to arrest you the moment you get better.”

I knew it. My fate was horrible.

“—But we will help you get out of here before then.”

“How?” I said anxiously.

“You need to trust us. Can you do that?” Paul said, putting out his hand so I can shake it.

I thought for a moment about these two. I never could trust them in the past, how could I trust them now. It didn’t matter, though, they were my only hope. I swallowed the lump in my throat, nodded my head and shook Paul’s hand saying:

“Deal.”

!You might have to scroll down the textbox with your mouse!

      The messy room had empty bottles laid on the ground, waiting for someone to trip over them. I almost was a victim. As for the people in this crowded area, they looked reminded me of the beer bottles: empty and useless. As I stepped over the god-awful mess, I noticed the music playing in the background. The tunes sounded like my own music I just recorded in the studio. Ethan was right; Paul did choose my song for his party. All of a sudden, this party wasn’t so bad after all. Well, at least with my voice singing in the background. 

        “Hey bro,” Ethan said, coming over to give me a handshake. “How’s it going. Are you likin’ the party?”

      That evening I played beer pong, strip tease and whatever else the crowd decided to do. I lost each game and made a fool of myself, but I kept remembering why I was doing this. I worked for seven years on my album. I did everything I could to reach the big leagues in the music industry. If getting a record label deal with Johanson Smith meant that I had to act like I wanted to be here, then by golly I am going to win an Oscar for my performance.   Several hours past and still Johanson Smith hadn’t shown up. It wasn’t until Paul came out his room, drunk, with a beautiful girl by his side, that I decided to leave. As he walked gracefully down the stairs (or try to) I ran to meet him halfway.

“I don’t think so.” And with that, I walked out of the house, got in my car, turned on the engine and prepared to leave the scene. I couldn’t believe I trust Ethan. Seriously, I should have known by now. For goodness sake he was Paul’s brother, of course there wasn’t any good in him.

      Before driving off I thought for a moment about returning to the party. I mean, I did have fun and I never experienced so many people treating as if they were my friends before. And if only for one night I can— never mind. What was I thinking? Some people just never change, especially Paul. Stepping on the gas pedal, I drove away from the dreaded house I had come to despise. I tried to stop thinking about how I was lied to by Ethan. I tried to stop thinking about the nasty smell that was lingering on my shoes thanks to Paul’s barf. And I tried to, and I tried to…WATCH OUT!!!!!!

My eyes widened and I felt my heart beat a million miles per hour. “Who did I kill? Tell me?” I wished I could just reach out and shake him silly. He wasn’t saying anything. “Plase,” I started to cry, “please tell me. I can take it.”

“Deal.”   

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3 thoughts on “ How to Write a Party Scene ”

Thank you, but how would you write a fanfiction where the whole (1-2 pages) Story consists of a party? It would be a house party for around 13 year olds, boys and girls. Any help here please?

Good Morning Amy,

What I would suggest is putting yourself into the situation. As a thirteen year old, what would you (and your friends) want to do at a party. Now, depending on if there is supervision, some of those activities may not be able to happen. For example, let’s say the 13 year olds want to drink and makeout. Well, that is highly unlikely if there is adult supervision. However, that’s were you can make the story interesting. Maybe the adult is past out drunk himself, of maybe the party was thrown without the consent of a parent.

Answer that question first, and then it should make the fanfiction story easier to write. Now, here are some situations you can add to your story: 1. Girl admits crush to boy or visa versa 2. A fight breaks loose 3. Someone gets drunk, acts clumsy and ends up falling down the stairs, potentially injuring them-self terribly 4. Truth or dare/ games such as kissing in the closet and pranks galore 5. Breakups between both friends and couples/ people becoming a couple 6. Celebrating a birthday or two 7. Gossip about school, teachers, friends, etc

You can add whatever you like. The main idea of a party is food, fun, and company. List what type of food you want at the party and what you think would be fun for the teenagers, then list who would arrive and how those characters are important to the story:

For example 1. The bully kid who was invited just to be made fun of 2. The couple who is lovebirds were invited just to be broken up by someone else 3. The cool kid who makes everything THAT much cooler

Then, decide how are they important to the story: 1. The bully kid is made fun of but it ends up back firing on the host or the people who were making fun of him. 2. The lovebirds who were invited prove their love is stronger than infatuation or lust. The person trying to break them up ends up looking like a fool. 3. The cool kid doesn’t make the party cooler and actually gets everyone in trouble by the police

With that said, use the three: food, company and fun as a way to move your story forward. –Have food fights with the food. Or maybe two teenagers feed each other the cake and end up falling in love (corny, I know). — Have the company/part goers do what party goers do… party like they’re rockstars with the music blasting hella loud. — What is considered fun to you? And implement that into the story.

Again, use your experience from the parties you went to or from what you seen on t.v. This should help and probably would go beyond 2 pages worth of story telling.

Hope this helped and let me know how it goes!!

-James Sterling

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Home » 10 Must-Knows For Writing About Dance

10 Must-Knows For Writing About Dance

Dance is a universal art form that has the power to captivate audiences with its beauty and expressiveness. The intricate movements, emotions, and stories woven into each performance make it a rich subject for writers to explore. However, writing about dance can be challenging for those not familiar with the art form. From crafting a dance critique to mastering dance descriptions, there are certain tips and techniques that can help elevate your writing and effectively convey the essence of this art form. In this article, we will discuss some essential tips for writing about dance and how to capture the magic of dance in words.

1. Tips for writing about dance

Dance is a unique and beautiful form of art that combines movement, music, and storytelling. Writing about dance requires a special set of skills to effectively capture its essence and convey it to the reader. Whether you are a dance enthusiast, a professional critic, or a student who needs to write about dance for a class assignment, here are some tips to help you craft a compelling piece about this captivating art form.

Get familiar with different styles

Before you start writing, it is crucial to have some knowledge and understanding of different dance styles. There are various forms of dance, such as ballet, modern, contemporary, jazz, tap, hip hop, and many more. Each style has its own history, techniques, and vocabulary. Familiarize yourself with these aspects of dance to ensure accuracy and credibility in your writing.

Watch and observe

The best way to understand dance is to watch it in action. Attend live performances, watch videos online, or even take a dance class yourself. Pay attention to the movements, dynamics, emotions, and interactions between dancers. Observe the costumes, lighting, and stage design. Take notes or record your observations to refer to when writing.

Research and gather information

In addition to watching performances, research is also essential in writing about dance. Look up the choreographer, the dancers, the company, and the history of the piece. Understanding the context and background of the performance can add depth and richness to your writing. You can also gather information from interviews, reviews, and articles about the performance.

Use descriptive language

Dance is a visual and sensory experience, and your writing should reflect that. Use vivid and descriptive language to paint a picture of the dance for your readers. Describe the movements, the music, the costumes, and the emotions evoked by the performance. Use adjectives and adverbs to add depth and understanding to your descriptions.

Include technical details

While it is essential to use descriptive language, it is equally important to include technical details about the dance in your writing. This includes specific steps, formations, and techniques used in the performance. These details not only add credibility to your writing but also help the reader understand and appreciate the technical aspects of the dance.

2. Exploring dance in writing

Writing about dance is not just limited to critiquing performances. There are various ways to explore dance in writing that can be both creative and informative.

Write a personal essay

You can use dance as a reflection of your own life experiences by writing a personal essay. Share memories of learning to dance, your favorite performances, or how dance has impacted your life. This type of writing adds a personal touch and allows your readers to connect with the art form on a deeper level.

Create a short story

Dance can also be used as a storytelling tool in writing. You can craft a fictional short story centered around dance or use a real-life dance performance as inspiration for your plot. This type of writing allows you to incorporate elements of dance into a different genre, making for a unique and creative piece.

Explore the cultural significance

Dance holds a significant role in different cultures and societies. You can explore this aspect of dance in your writing by researching and writing about the cultural significance of a particular dance style. This type of writing can be educational and enlightening for readers who may not be familiar with the cultural background of a certain dance.

Interview dancers and choreographers

Another way to explore dance in writing is by conducting interviews with dancers and choreographers. This allows you to gain insight into their creative process, inspirations, and challenges. You can also ask them about their experiences as performers and how they feel about the role of dance in our society today.

3. Crafting a dance critique

One of the most common forms of writing about dance is writing a critique of a performance. A dance critique is a detailed analysis and review of a dance performance, providing an evaluation of its technical and artistic aspects. Here are some tips for crafting a strong dance critique:

Provide context

Start your critique by providing some context for the performance. This includes the title of the piece, the choreographer, the company or dancers, and the location and date of the performance. You can also mention any relevant information about the theme or inspiration behind the dance.

Describe the performance

In this section, you should provide a detailed description of the performance. Include information about the style of dance, music, costumes, and stage design. Describe the movements, formations, and any standout moments in the performance. Use descriptive and technical language to effectively convey the visual experience of the dance to your readers.

Analyze the technical aspects

An essential aspect of a dance critique is evaluating the technical proficiency of the dancers. This includes their execution of steps, timing, coordination, and use of technique. Be specific and provide examples from the performance to support your analysis. You can also discuss the choreography and its effectiveness in showcasing the dancers’ skills.

Evaluate the artistic elements

Besides technical aspects, a dance critique should also evaluate the artistic elements of the performance. This includes the emotions, storytelling, and overall message of the dance. Discuss how these elements were conveyed through the movements and if they were effective in eliciting a response from the audience.

Give constructive feedback

In addition to providing an evaluation, it is essential to give constructive feedback in your dance critique. Point out any areas that could be improved upon and offer suggestions for how this can be done. Remember to be respectful and avoid harsh criticism.

4. Mastering dance descriptions

Dance descriptions are crucial in capturing the essence of a dance and conveying it to the reader. Here are some tips for mastering dance descriptions:

Focus on the movements

The key element of any dance description is the movement. Use descriptive language to paint a clear picture of the motions, whether they are fluid, sharp, or energetic. You can also use adjectives to describe the quality of the movement, such as graceful, powerful, or delicate.

Incorporate the music

Dance is often accompanied by music, and it plays a significant role in the overall experience. Describe the music and its impact on the dance. Is it upbeat or melancholic? Does it enhance the movements or contrast with them?

Use metaphors and similes

Metaphors and similes are powerful literary devices that can add depth and creativity to your dance descriptions. Compare the movements to something else to help the reader understand and visualize them better. For example, “Her body swayed like a leaf in the wind.”

Consider the use of space

Dance uses space in unique and interesting ways, whether it’s through formations, levels, or interactions between dancers. Describe how space is utilized in the performance and how it contributes to the overall effect.

Explore the emotions

Dance often evokes strong emotions in both the performers and the audience. Use descriptive language to convey the emotions present in the dance. Is it a joyful, sad, or intense performance?

5. Writing about the art of movement

Dance is often referred to as the art of movement, and writing about it requires understanding and appreciation for this aspect. Here are some tips for effectively capturing the art of movement in your writing:

Focus on the subtleties

Masterful dancers pay attention to even the tiniest of movements, creating a sense of fluidity and control. When writing about the art of movement, be sure to highlight the subtleties that make the dance unique and captivating.

Describe the transitions

In dance, the transitions between movements and steps are just as important as the movements themselves. When describing the art of movement, pay attention to the flow and transitions between different steps, and describe how they contribute to the overall effect of the dance.

Emphasize the use of the body

Dance uses the body as an instrument of expression, with every part playing a role in conveying the intended message. In your writing, describe how the dancers use their bodies to communicate emotions and tell a story.

Address the connection between music and movement

Dance is often accompanied by music, and the relationship between these two art forms is essential. In your writing, explore how the movements are in sync with the music and how each complements the other to create a powerful performance.

6. Conveying the essence of dance

Dance is a form of expression that goes beyond just physical movement. It has the power to evoke emotions, tell stories, and connect with the audience on a deeper level. Here are some tips for effectively conveying the essence of dance in your writing:

Focus on the storytelling

Dance is often used as a medium for storytelling, and it is essential to convey this aspect in your writing. Explore the theme, plot, or message of the performance and how it is expressed through the movements.

Use sensory details

Sensory details play a crucial role in conveying the essence of dance. Use descriptive language to describe the visuals, sounds, and even smells of the performance. This will help the reader feel like they are experiencing the dance themselves.

Discuss the impact on the audience

Dance has the power to evoke strong emotions in the audience, whether it’s joy, sadness, or awe. In your writing, discuss the impact the performance had on you as a viewer, as well as the reactions of the audience around you.

In addition to storytelling and emotion, dance can also hold cultural significance. If the performance has any cultural references or influences, be sure to discuss them and how they contribute to the essence of the dance.

7. Dance writing essentials

Whether you are writing a critique, a personal essay, or a short story about dance, there are certain essentials that should always be included in your writing:

Accuracy and credibility

The most critical aspect of writing about dance is accuracy and credibility. Ensure that the information you include in your writing is fact-checked and reliable. This includes details about the performance, the choreographer, the dancers, and the history of the piece.

Emotion and storytelling

Dance is an art form that evokes emotions and tells stories. Make sure to capture these elements in your writing, whether it’s through descriptive language, personal experiences, or analysis of the performance.

Variety in sentence structure

Writing about dance requires a mix of descriptive, technical, and analytical writing. To keep your writing engaging, make sure to vary your sentence structure and avoid repetitive patterns.

Clear organization and structure

Having a clear and organized structure is essential in any form of writing. Make sure your writing flows smoothly and logically, with each paragraph serving a specific purpose and contributing to the overall message.

8. Techniques for writing about dance

To effectively write about dance, here are some techniques you can use to enhance your writing:

Use active voice

Active voice is more engaging and direct than passive voice and should be used when writing about dance. For example, instead of writing “The dancers were led by the choreographer,” you can write “The choreographer led the dancers.”

Include dialogue

Dialogue is a useful tool for bringing the reader into the narrative and making your writing more dynamic. Use quotes from interviews or conversations to add an element of authenticity to your writing about dance.

Utilize symbolism

Dance is often symbolic and can represent complex themes and ideas. Incorporate symbolism into your writing to add depth and layers to your descriptions and analysis of the performance.

Incorporate personal experiences

If you have experience with dance, whether as a performer or an audience member, feel free to incorporate your personal experiences into your writing. This can add a unique perspective and make your writing more relatable.

9. Composing dance reviews

A dance review is a concise and objective evaluation of a performance, typically published in a newspaper or online publication. Here are some additional tips for writing a successful dance review:

Be succinct

A dance review should be brief, ideally no longer than 500-700 words. Be concise in your writing, and only include relevant information that adds value to your review.

Avoid personal bias

A dance review should be as objective as possible, avoiding personal biases or preferences. Stick to the facts and provide evidence to support your opinions. Remember that your review should be helpful to both the dancers and the audience.

Include a star rating or grade

Many publications use a star rating or grade system to summarize the overall quality of the performance. Consider including this in your review to help readers quickly assess your opinion.

End with a recommendation

To wrap up your dance review, end with a recommendation for your readers. Would you recommend the performance? Who would enjoy it? This will give your review a clear conclusion and guide readers on what to expect from the performance.If you’re interested in learning more, this link is a great starting point.

In conclusion, writing about dance is an intricate yet rewarding process that requires a combination of technical knowledge and creative flair. By following the tips and techniques shared in this article, one can effectively explore and capture the essence of dance through words. From crafting a dance critique to mastering dance descriptions, understanding the essentials of dance writing can help in conveying the power and beauty of this art form. Whether it is composing dance reviews or simply conveying the emotions and movements of dance, the key is to immerse oneself in the experience and let the words flow freely. As dancers and writers alike, let us continue to celebrate the art of movement and inspire others through our written words. With practice and dedication, one can truly master the art of writing about dance in all its glory.

Lauryn Hines is a 36-year-old blogger and volunteer. She has a master's degree in education and has worked as a teacher and school administrator. Lauryn is also a passionate advocate for volunteerism and has been involved in numerous volunteer projects throughout her life. She is the founder of the blog Volunteer Forever, which is dedicated to helping people find the perfect volunteer opportunity.

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Alexander Chee on What Writing Parties Reveals About Characters

The author of The Queen of the Night describes how a scene by Charlotte Bronte showed him the dramatic stakes of social interaction in fiction.

By Heart is a series in which authors share and discuss their all-time favorite passages in literature. See entries from Karl Ove Knausgaard, Jonathan Franzen, Amy Tan, Khaled Hosseini, and more.

A few years ago, the publishing imprint Picador asked writers to share their favorite party scenes from literature. Many classics were cited—the finale of Mrs. Dalloway , Joyce’s winter-bleak “The Dead,” Bilbo’s birthday celebration in The Fellowship of the Ring , Jay Gatsby’s wild Friday nights. But one writer, the award-winning novelist Jim Crace, had a different take. “I hate parties,” he wrote. “Come on, admit it, everyone hates parties. Stop pretending.”

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It’s a reminder that parties, as fun as they can be, often also provoke profound anxiety and dread—and that dichotomy is one reason Alexander Chee, author of The Queen of the Night , loves writing about them. For Chee, parties are essential dramatic tools in fiction: They’re supercharged with action, intrigue, and uncertainty. In our conversation for this series, Chee looked closely at a pivotal scene in Charlotte Bronte’s Villette , where a play is put on during a lavish ball. In Chee’s view, Bronte offers an apt metaphor for how parties work: We’re all acting, and the roles we choose and costumes we wear say everything about us.

It’s been almost 15 years since Chee’s acclaimed first novel, Edinburgh , was published in 2001. It’s clear why this one took him so long: The Queen of the Night is a multi-stranded, thoroughly researched epic about the world of 19th-century French opera. The main character, a soprano with a harrowing past she is ashamed of, is offered a starring role in an production written specifically for her by an anonymous composer; to her horror, she discovers that the work contains details about her secret life. In our discussion, Chee explained how Villette helped him become more comfortable writing about 19th-century mores, and imbue performance scenes with dramatic force.

Chee’s essays and stories have appeared in The New York Times Book Review, Tin House, Slate, Guernica, NPR, and Out , among others. The winner of a 2003 Whiting Award, he inspired the idea for the much-discussed “Amtrak residency” and curates the Dear Reader reading series in New York City, where he lives.

Alexander Chee: I had a writing teacher once who told us writers should never describe parties. If possible, she said, we should avoid it. It might have been her own disinclination for parties, even though she seemed to be a very social person. Or it may have been that she was simply tired of the way undergraduates wrote about parties. But her advice made the description of parties incredibly taboo to me, and gradually, I knew, I would have to write about them.

The qualities that make parties such a nightmare for people—and also so pleasurable—make them incredibly important inside of fiction. There’s a chaos agent quality to them: You just don’t know who’s going to be there, or why. You could run into an old enemy, an old friend, an old friend who’s become an enemy. You could run into an ex-lover, or your next lover. The stakes are all there, and that’s why they’re so fascinating.

In my first novel, there’s a party scene that I’m incredibly proud of, which I would hold up as a model to anyone. But that was the kind of party I was very used to—kids in college, someone’s family isn’t home—which made it easy to write. My new novel presented a very different challenge. I had zero experience with the parties of the 19th century. (Most of us alive, I guess you could say, really don’t.) When you’re writing historical fiction you have to think a little farther into the situation: what the average social interactions were, what was acceptable behavior. What did people think was fun, what did they find unhappy, and why?

I knew I wanted the parties in The Queen of the Night to be convincing, beautiful, and also dramatic, situations where significant things happened on a scale that was both grand and intimate.

There were several texts that helped me think about how to do this and one of the most important ones was Charlotte Bronte’s novel Villette . The heroine, Lucy Snowe, is not particularly beautiful, but is incredibly intelligent, and was born into unfortunate circumstances. She has ruthless standards of behavior for herself and others that she believes protects her, and so parties are almost like battles for her, over her identity, even her soul.

There’s a party in Chapter XIV, “The Fete,” which beautifully demonstrates the dramatic stakes. Lucy has left England for France, and is working as a teacher at a boarding school for young women there. The party is an annual one, celebrating the headmistress, Madame Beck, and involves a short play performed in her honor as well as dancing.

On the grand scale, it brings out the world of the novel and the larger political context of the era. The students and teachers are from different parts of the world, and there’s a lot of commentary about what is English and what is French, so their two nations’ longstanding conflict with each other gets rendered as a sort of banter. That was useful for me to see as the parties in The Queen of the Night have international guests, some of them very important diplomatic or aristocratic figures, some of whom had been at war or were about to be at war, or were spying on each other. Seeing how that plays itself out in the minutiae of these parties was part of what I was looking for.

But “The Fete” does its best on a smaller scale, bringing out dynamics between the main characters. One of the things that’s really important in Queen of the Night is how people communicate with their clothes. We start to see that, here, before the party even begins. There’s a great scene where Lucy is thinking about how everyone will dress, and also how she will dress, and is anxious about it. As she watches a group of young girls preparing for the evening, dressed in muslin, she can’t see herself in their brilliant white outfits:

In beholding this diaphanous and snowy mass, I well remember feeling myself to be a mere shadowy spot on a field of light; the courage was not in me to put on a transparent white dress: something thin I must wear—the weather and rooms being too hot to give substantial fabrics sufferance, so I had sought through a dozen shops till I lit upon a crape-like material of purple-gray—the colour, in short, of dun mist, lying on a moor in bloom. My tailleuse had kindly made it as well as she could: because, as she judiciously observed, it was “ si triste — si pen voyant ,” care in the fashion was the more imperative: it was well she took this view of the matter, for I, had no flower, no jewel to relieve it: and, what was more, I had no natural rose of complexion. We become oblivious of these deficiencies in the uniform routine of daily drudgery, but they will force upon us their unwelcome blank on those bright occasions when beauty should shine. However, in this same gown of shadow, I felt at home and at ease; an advantage I should not have enjoyed in anything more brilliant or striking.

Lucy is anxious to look appropriate to the situation even as she does not want to draw attention to herself. She’s hoping to choose her dramatic role in the evening, aware that the whole thing is a play of a kind, not just the one rehearsed event. Party clothes say so much about what someone wants to communicate to other people about themselves, as well as what they’re also feeling about themselves, and whether what they’re making makes them feel more or less powerful. And the “gown of shadow,” is such a fantastic phrase: turning her mousy attire into something transfiguring and even powerful for a brief moment. At the beginning of that section she’s a shadowy spot on a field of light. And by the end of that description, she’s the gown of shadow.

And, as I read it, I can see how this phrase, “gown of shadow” became incredibly important as an image in my own novel, and I suspect this is where it comes from. Also this sense of being dressed and hidden at the same time.

In fiction, I think, you’re always working with who your characters are and who they believe they are. You’re telling a story that’s about both of those people. At a party you see, most of all, who they aspire to be, a kind of theatrical role they hope to assume—it’s not just Lucy Snowe doing this. And so the costume we are in, as it were, matters hugely—and Bronte makes that overt in this scene, when an emergency requires Lucy to play a part in the little play that’s going to be put on: One of the male actors has fallen ill, and she’s forced to step in. She’s told she must dress as a man for this. And so, she’s unwillingly being drawn into the center of attention even as she’s already being disguised by the costume that she must wear. That is a wonderful paradox of forces to subject someone like Lucy to—someone who is hoping to simply wear that gown of shadow and slip by, watching from the edges and certainly not be at the center of attention.

These kinds of entertainments were very common back then; it was typical, at these parties, to have a tableau vivant or charade, play, or operetta, as part of the game of the evening. The play doubles as a kind of metaphor for the way a party brings out certain elements of a character’s personality, and Bronte pulls that off masterfully here.

Lucy refuses to wear a man’s clothes—and instead consents to wear some of each, becoming kind of a hermaphoditic presence—and this affects the way the other characters, especially the female characters, relate to her as the night goes on. Meanwhile, one of the other characters, Ginevra, plays the coquette between two suitors, one of whom is the character Lucy is playing—and this is a role Lucy will continue inhabiting during the rest of the evening. For both, the drama they perform in becomes truer than might have been thought.

With this, Charlotte Bronte introduces a story within a story, another thing that I wanted to do in The Queen of the Night with my character who fears her voice is cursed, dooming her to repeat the fates of the characters she’s performed. This kind of doubling was important for me to create throughout the novel.

And so I really disagree with my old writing teacher. It’s a commonplace of teaching writing that the story really takes off when your characters speak to each other. But I think when your characters go to a party, so much more is possible than can happen in just a simple conversation. The kinds of surprising developments here are exactly what you want to have come forward in the novel. Parties aren’t to be avoided—they could even be said to be paramount.

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Mahou New Member

Dance scene.

Discussion in ' Setting Development ' started by Mahou , Dec 2, 2010 .

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); New idea I'm working on surrounds a band that does a lot of breakdance and hip hop moves, but I have no idea how to describe the dances without getting too wordy. Any ideas?  

Elgaisma Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); keep it light, describe the movement and action rather than the actual dance. Have a look at martial art fight scenes in books they will give you an idea.  

Celia. New Member

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); practice the actual dance and how you feel doing it.  

Eunoia Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); I would describe the movement and how the characters feel whilst dancing. Avoid being too technical about the dance as it may be confusing and clunky. I'd suggest reading some fiction with dance, or a similar art/sport, scenes in to give you an idea.  

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); Thanks! I'll try that. =)  

mammamaia nit-picker-in-chief Contributor

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); my best advice is 'don't!'... at least not in much detail... stick to telling the story... include details of the dancing only if it relates to the plot/characters and is necessary...  

FrankABlissett Active Member

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); Consider this too. If you go into too much detail with a current dance, the passage will feel very dated in just a few years. That's fine if you want to pin it to a specific time and place, but even then can get to feel like an info-dump. On the other hand, if you avoid describing specific moves (unless important to the character/plot), the reader will imagine whatever dance steps feel most appropriate to them - even if the dance hadn't been popularized or even invented when you wrote the passage! -Frank  

Mallory Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); Describe the emotions of the dancer(s), the reactions of the crowd, etc. Don't describe the physical moves they're doing unless it's absolutely important somehow.  

Wreybies Thrice Retired Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_7c750795605ae4454f922905e27960bb'); }); Yes, keep the details light and relevant to what is happening in the story. If the reader wanted an instruction on dance, that's the book he/she would have purchased. In Marrion Zimmer Bradley's The Catch Trap , the story revolves around a family of aerial trapeze artists. Much of the story-line takes place "under the big top," but even with that the author did not drown the reader with details and "insider information" on the world of trapeze. She gives just enough to set the scene and let the reader know how it feels to do the act and how it affects the protagonists, but she does not make the mistake of turning it into a lesson for the reader.  

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Dance Inspo · May 31, 2024

60+ Dance Writing Prompts to Inspire Dancers

Are you looking to inspire your life as a dancer by writing and journaling? Then this list of over 50 dance writing prompts is perfect for you!

This post may contain affiliate links, which means I’ll receive a commission if you purchase through my links, at no extra cost to you. Please read  full disclosure  for more information.

Dancing might be creating something with your body but that doesn’t mean we as dancers should abandon all other forms of creativity! That’s why writing and journaling is one of the best ways dancers can explore their creativity, manage their mental health, and reflect on their dance journey.

However, if you are a dancer that wants to start writing, you might be wondering, where do you begin?

That’s why I’ve created this list of over 60 dance writing prompts for dancers.

This post is going to give you the best dance writing prompts, writing prompts for dancers, and writing tips for dancers. You are also going to learn why every dancer should be writing or journaling and how you can use writing to become a better dancer.

What’s in this post

Why is writing useful for dancers, what are some different ways dancers can use writing, how do i start writing as a dancer, dance related writing prompts.

General Writing Prompts for Dancers

Before You Go

This post is all about dance writing prompts

Dance Writing Prompts

When dancers write or journal they open a new window for creativity and inspiration that will SIGNIFICANTLY impact their dancing.

Writing and journaling for dancers is also a very useful tool to help dancers reflect, unwind, and manage their mental health effectively.

Writing can also help dancers reflect and take steps to set goals along their dance journey. By writing down things like what you learned in class, your choreography, or dance class corrections you can really become a stronger dancer.

You Might Also Like: 100 Goals for Dancers

Dancers can use writing in a variety of ways.

First, you can use writing to keep track of and create choreography. I find that I come up with stronger choreography ideas when I start by writing, documenting, and exploring new ideas in my journal.

Another way dancers can use writing it to reflect and document their dance journey and dance goals . You can write you corrections from dance class, your feelings after a rehearsal, and to track your personal goals as a dancer.

Finally, dancers can use writing simply as another creative outlet. I tend to write a variety of random ideas that are both related and unrelated to dance. This helps me manage both my mental health as a dancer and foster my creativity as an artist.

Start by getting a journal that you can easily carry with you wherever you go or at the very least in your dance bag.

My favorite journal is the dotted Paperage Journal from Amazon . It is the BEST journal that I have ever used and love the dotted paper because it lets me write outside the lines and add drawings and other things to my writing.

Now you can start writing and journaling!

The dance writing prompts included in this post are a great place to start your dance writing journey. But remember that this is YOUR dance journal and that you can write about anything and everything that YOU want to.

If you want to learn more about journaling for dancers check out this blog post!

This first series of prompts can help inspire you to think about your life as a dancer. Some of these prompts are also useful for developing choreography or a choreography concept.

• Write about your first dance performance. Describe the emotions, the setting, and how it impacted your journey as a dancer.
• Who or what inspires you to dance? Describe how this inspiration influences your style and dedication to dance.
• Write about a day in the life of a dancer. Include details about rehearsals, preparations, and the physical and mental challenges you face.
• How does dance help you express your emotions? Describe a specific dance piece that allowed you to convey a particular feeling.
• Explore the cultural significance of a specific dance style you practice. How does it connect you to your heritage or interest you in other cultures?
• Describe a significant challenge you faced in your dance journey and how you overcame it. What did you learn from the experience?
• Write about your favorite dance style. Why do you love it, and how does it differ from other styles you’ve tried?
• Describe your process for choreographing a new dance piece. Where do you start, and how do you develop your ideas?
• Imagine your perfect dance performance. What would it look like, where would it be, and what music would accompany it?
• How does being a dancer shape your identity? Discuss how dance influences your personality, relationships, and daily life.
• Write about a mentor or teacher who has significantly influenced your dance career. How did they help you grow, and what lessons did you learn from them?
• Describe a memorable experience with dance improvisation. How did you feel during the process, and what did you discover about yourself as a dancer?
• Discuss the connection between dance and overall well-being. How does dance impact your physical health, mental health, or both?
• If you could collaborate with any dancer or choreographer, past or present, who would it be and why? Describe the type of piece you would create together.
• Have you ever experienced stage fright? Write about how you deal with performance anxiety and any strategies you use to overcome it.
• How does music influence your dance? Write about a piece of music that has inspired a dance routine and describe the connection between the sound and your movement.
• How do you use dance to tell a story? Write about a piece you’ve performed or choreographed that tells a meaningful story, and explain the narrative behind it.
• Reflect on how your dance style and abilities have evolved over the years. What key experiences have shaped your growth?
• Write about your future goals and aspirations in dance. Where do you see yourself in five or ten years, and what steps are you taking to achieve those dreams?
• What is a piece of music that you can’t help but dance to and why?
• What are some shapes you see every day that you could recreate with movement?
• How does movement help you communicate ideas and emotion?
• How do you feel when you move through your emotions by dancing?
• Describe a moment when you felt completely in sync with your dance partners. What made that moment so special, and how did it affect your performance?
• Write about a dance performance that moved you deeply, whether you were the performer or an audience member. What made it so impactful?
• How do you prepare mentally and physically before a big performance? Write about your pre-performance routine and any rituals you follow.
• Discuss a time when you had to adapt quickly during a dance performance due to unexpected circumstances. How did you handle it, and what did you learn?
• Write about the role of costume and makeup in your dance performances. How do they enhance your character and overall presentation?
• Describe a time when you faced criticism or rejection in your dance career. How did you cope with it, and how did it influence your growth as a dancer?
• Write about a dance piece that you choreographed. What was your inspiration, and how did you develop the choreography from concept to final performance?
• How do you balance technical skill and emotional expression in your dancing? Write about the importance of both elements and how you strive to achieve this balance.
• Reflect on the role of community in your dance journey. How have fellow dancers, teachers, and supporters contributed to your development and success?
• How did your most recent dance rehearsal or dance class impact you? How did you feel after it?
• What is an animal that would be fun to explore through dance movement?
• How do you see dance movement or choreographed movements in your daily life?
• What do you value most as a dancer?
• What are your personal beliefs as a dancing artist?

Recommended: 8 Habits of INCREDIBLY Successful Dancers

General writing prompts dancers can use for inspiration.

This set of dance writing prompts are pretty general prompts that anyone can use. However, these writing prompts can help dancers explore their ideas, creativity, and artistry that can then be brought back into their dancing.

• Write down some random and miscellaneous questions you find yourself thinking of throughout the day. How are they related? Can you answer any of them? Why did you have that question?
• What is a pattern or design that you love?
• What is a something that you are currently obsessed with? What spurred your obsession?
• Pick a color and write about what it makes you think of and how it makes you feel.
• Write about a recent dream of yours. What was it about? What do you remember about it?
• Write down your observations and discoveries from the day.
• What is something new and fascinating that you recently discovered?
• Name a person that you would like to know more about. What do you want to know about them? Why do you want to know more about them?
• What is something that your are proud of recently?
• What is something that is frustrating you right now? Why does it feel this way?
• Jot down a few random thoughts or questions that have crossed your mind recently. What patterns do you notice? Can you find any connections between them?
• Describe a texture you love. How does it feel, and what memories or emotions does it evoke for you?
• Write about something that has recently captivated your interest. What triggered this fascination, and how has it influenced your daily life?
• Pick an object in your surroundings and write about what it symbolizes to you. Why is it significant, and what memories does it hold?
• Describe a dream you’ve had multiple times. What details stand out, and how do you interpret its meaning?
• Record your observations from a typical day. What did you notice that you might normally overlook? How did these observations affect your mood or thoughts?
• Reflect on a new piece of knowledge or a skill you’ve recently acquired. What sparked your interest, and how do you plan to use this new knowledge?
• Think of someone you’ve met or seen recently who intrigued you. What about them caught your attention, and what would you like to learn about them?
• Write about a recent achievement you’re proud of. What steps did you take to accomplish it, and how did it make you feel?
• Identify something that is currently challenging or frustrating you. Why is it difficult, and what strategies might help you overcome it?
• What is a skill, job, or occupation that you are fascinated by? What would it be like to try that?
• Write about a daily habit, pattern, or routine you have adopted into your life. What does it feel like to do? Why is it part of your routine? What might your day be like if you skipped that habit?
• What are some patterns or habits you do on a daily basis? Observe them and write about your observations.
• Go somewhere and people watch. What do you see and observe?
• What are you most inspired by right now?

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Painted Panoramas: How to Describe Leaves in Creative Writing

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

Understanding the Aesthetic Beauty of Painted Panoramas

Depicting leaves: exploring the intricacies of nature in creative writing, crafting vivid descriptions: techniques to bring leaves to life, colorful canvases: describing the palette of leaves in your writing, captivating the reader’s senses: describing the texture and sound of leaves, using metaphors and symbolism: evoking emotion through leaf descriptions, immersing readers in leafy landscapes: creating engaging and authentic settings, frequently asked questions, concluding remarks.

Painted panoramas have long captivated art enthusiasts around the world with their extraordinary ability to transport us into stunning landscapes or bustling scenes from history. These breathtaking works of art allow us to experience a different time and place, immersing ourselves in the artist’s vision. Through their intricate brushstrokes and meticulous attention to detail, painted panoramas encapsulate the essence of an entire panorama within a single frame. Their immense size and panoramic format enable us to feel as though we are standing right in the midst of the depicted scene, triggering a sense of wonder and enchantment.

The aesthetic allure of painted panoramas lies not only in their lifelike representation of the world, but also in their ability to evoke emotions and connect us to the past. These grand, sweeping landscapes transport us to distant locations, from majestic mountain ranges to serene seascapes, providing a sense of escape and tranquility. Moreover, painted panoramas often depict historical events or significant moments in time, offering a unique glimpse into the past. The meticulous brushstrokes and vibrant colors used by artists create a sense of realism and depth, making it feel as though we are witnessing these moments firsthand. Being able to step into a painted panorama is like embarking on a visual journey, feeding our curiosity and inspiring a deep appreciation for the artistry behind these masterpieces.

Immerse yourself in the vibrant world of creative writing as we delve into the intricate beauty of leaves. In this captivating journey, we will unlock the secrets to creating vivid descriptions that breathe life into your nature-inspired prose. From the smallest details to the grand tapestry of colors, our exploration will inspire you to observe with renewed wonder and translate your observations into compelling words on the page.

Discover the hidden poetry within each leaf as we unravel the captivating shapes, textures, and patterns that adorn them. Through interactive exercises and insightful prompts, we will guide you in developing your descriptive skills, helping you paint a symphony of words that skillfully mimic the delicate play of sunlight dancing through foliage. Learn to harness the power of vivid imagery to transport readers to lush, verdant landscapes, where they can almost smell the earthy scent and feel the gentle rustle of leaves beneath their feet.

Join us on this enchanting journey of exploration and self-expression, where you will uncover the art of depicting leaves with unparalleled imagination and precision. Whether you’re a seasoned writer seeking to deepen your connection to nature or a budding wordsmith eager to hone your craft, this adventure promises to awaken your senses and ignite new realms of creativity. Embrace the wonders of the natural world through the written word and unlock the limitless potential within your own imagination.

When it comes to writing vivid descriptions, there are several techniques that can help you bring leaves to life on the page. By utilizing these methods, you can transport your readers to a world filled with the mesmerizing beauty of nature.

1. Utilize sensory language: Engage your readers’ senses by describing the appearance, sound, smell, taste, and touch of leaves. Use adjectives to paint a picture, such as “emerald-green” or “fiery-red,” to make the imagery more vibrant and captivating.

2. Show, don’t tell: Instead of simply stating that leaves are “beautiful,” show their beauty through specific details. Describe how rays of sunlight dance on the surface of each leaf, or how they gently sway in the breeze, creating a mesmerizing symphony of rustling sounds.

3. Appeal to emotions: Encourage an emotional connection between your readers and the leaves by tapping into their nostalgia or fond memories. For example, describe how the scent of fallen leaves evokes a sense of autumnal nostalgia, reminding them of cherished moments spent crunching through a colorful carpet of foliage.

4. Contrast: Highlight the uniqueness of leaves by juxtaposing them against their surroundings. Describe how the vibrant red maple leaf stands out against a backdrop of fading greens, accentuating the beauty and individuality of each leaf.

When it comes to capturing the essence of autumn in your writing, nothing quite compares to the vibrant hues of fallen leaves. These natural canvases provide writers with a kaleidoscope of colors to weave into their prose, adding depth and visual imagery to their descriptions. By embracing the rich palette of leaves, you can bring your writing to life and transport your readers to a world ablaze with the beauty of nature.

Imagine the crunch of red and orange leaves beneath your feet, the gentle rustling sound that accompanies each step. Picture the sunlight filtering through the canopy, casting a warm golden glow upon the forest floor. By skillfully incorporating these sensory experiences into your writing, you can create vivid scenes that evoke a true sense of autumn. Consider the following techniques to effectively embrace the palette of leaves in your writing:

• Paint with words: Use descriptive language to convey the colors of the leaves. Instead of simply stating “the leaves were red,” try phrases like “fiery crimson leaves” or “vibrant scarlet foliage.” This allows readers to visualize the shades and enhances their connection to the scene.
• Explore the spectrum: Don’t limit yourself to the typical hues of autumn leaves. Consider the subtle variations, such as burnt sienna, amber, or even the occasional purple or pink leaf. The richness of the leaf palette goes beyond the obvious, so be adventurous with your color choices.
• Embrace metaphor: Use the changing colors of leaves as a metaphor to convey emotions or ideas. For example, you could describe a character’s mood as “falling into a sea of golden tranquility” or their heart as “burning with the passion of a scarlet leaf.” Metaphors add depth and symbolism to your writing, making it more memorable.

When it comes to the beauty of nature, the texture and sound of leaves can transport us to a world of tranquility and wonder. Each leaf, with its unique patterns and textures, has a story to tell. As you run your fingers along the surface, you might encounter velvety smoothness, like a piece of satin gently brushing against your skin. Or perhaps you’ll stumble upon a leaf with jagged edges, reminiscent of crumpled paper. The diversity of these natural textures never ceases to amaze, captivating both your sense of touch and imagination.

But leaves have more to offer than just their texture. As they rustle in the wind, a symphony of sounds unfolds before your ears. The delicate flutter of a leaf falling to the ground, like a soft whisper, creates a sense of serenity. When a gentle breeze rustles through a foliage-rich tree, you can hear the leaves dancing in harmony, their collective murmur creating a soothing melody. It’s as if the trees themselves are speaking, sharing their secrets and tales with those willing to listen.

When it comes to describing leaves, utilizing metaphors and symbolism can enhance the emotional impact of our writing. By evoking powerful imagery and tapping into universal symbols, we can create a deeper connection with our readers. These literary devices offer an opportunity to paint vivid pictures in their minds as they navigate through the text.

1. **Dancing foliage**: Imagine leaves swaying and twirling like graceful ballerinas, caressed by a gentle breeze. This metaphor not only adds movement to your descriptions but also evokes a sense of elegance and beauty. Such imagery can be great for conveying a serene, tranquil atmosphere.

2. **Golden confetti**: Use this symbolism to describe autumn leaves strewn on the ground, creating a vibrant carpet of color. The image of golden confetti conjures a festive and joyful mood, making it ideal for narrating scenes of celebration or offering a contrast to melancholic emotions. It invites readers to revel in the kaleidoscope of nature’s colors.

When it comes to writing, one of the most important aspects is creating settings that transport readers to the heart of the story. And what better way to captivate their imagination than by immersing them in lush, leafy landscapes? Whether it’s a dense, mystical forest or a serene, picturesque garden, the key lies in evoking sensory details and creating a multi-dimensional experience for your readers. Here are some tips to help you craft engaging and authentic settings that will leave your readers craving more:

• Research and Observation: To portray leafy landscapes authentically, start by immersing yourself in real-life settings. Take nature walks, visit botanical gardens, or simply spend time in lush green spaces. Observe the flora and fauna, listen to the sounds of rustling leaves, and inhale the earthy scent of the forest. By truly experiencing these environments, you’ll be able to capture their essence in your writing.
• Vivid Descriptions: As you transport your readers to these leafy landscapes, it’s crucial to engage their senses through vivid descriptions. Paint a picture with your words, allowing them to see the sunlight filtering through the canopy, feel the soft moss underfoot, and hear the melodious chorus of birdsong. By appealing to their senses, you’ll create a tangible and immersive setting that feels real to your readers.
• Character Interactions: Leafy landscapes can serve as more than just a backdrop for your story; they can also provide opportunities for meaningful character interactions. Consider how your characters would interact with the environment. Are they at peace and connected to nature, or do they find it unsettling and overwhelming? These interactions can add depth to your characters and create a sense of tension or harmony within the leafy landscape.

Creating engaging and authentic settings is a powerful tool in any writer’s arsenal. By immersing readers in leafy landscapes, you’ll transport them to a world where they can share in the beauty, mystery, and wonder that nature has to offer. So go ahead, let your imagination wander, and take your readers on a breathtaking journey they won’t soon forget!

Q: What are painted panoramas? A: Painted panoramas refer to a technique in creative writing where authors vividly describe the natural beauty of leaves.

Q: Why is it important to describe leaves in creative writing? A: Describing leaves can add depth and richness to your writing, helping readers visualize the scenery and immerse themselves in the natural world being depicted.

Q: How can I capture the essence of leaves in my writing? A: To effectively describe leaves, try to incorporate sensory details such as colors, shapes, textures, sounds, and scents. Use dynamic and evocative language to bring the reader closer to the experience of observing leaves.

Q: What are some words and phrases I can use to describe leaves? A: You can use words like verdant, vibrant, lush, vibrant, emerald, golden, fiery, delicate, fluttering, rustling, crisp, or aromatic to paint a vivid picture of leaves in your writing.

Q: How can I depict the colors of leaves creatively? A: Instead of simply saying “green” or “brown,” experiment with a variety of descriptive phrases such as “emerald green,” “honeyed amber,” or “coppery hues” to evoke a sense of visual beauty to your readers.

Q: How can I describe the shapes and textures of leaves? A: Pay attention to the shapes of leaves, whether they are heart-shaped, jagged, or elongated. Furthermore, describe their textures, such as velvety, leathery, or papery, to give a more detailed portrayal.

Q: Can you provide some examples of creative leaf descriptions? A: Certainly! Here’s an example: “The leaves, a kaleidoscope of fiery oranges and reds, cascaded from the trees, gently swirling as they found their place on the forest floor, forming a vibrant tapestry of autumn’s last dance.”

Q: Are there any particular literary devices I can use to describe leaves effectively? A: Yes, you can employ poetic devices like similes, metaphors, personification, or even onomatopoeia to accentuate the imagery of leaves. For instance, you could say, “The leaves whispered secrets to the wind,” personifying the leaves and creating a more immersive experience.

Q: How can I ensure my leaf descriptions flow seamlessly within the narrative? A: Integrate leaf descriptions into your story or prose naturally, allowing them to enhance the setting or characterization rather than feeling forced. Aim for a balanced mix of descriptive passages and other narrative elements to maintain a good flow.

Q: Any final tips to inspire creative leaf descriptions in writing? A: Engage all your senses, observe nature keenly, and let your imagination run free. Look beyond the obvious and explore the unique qualities of leaves, and always practice using descriptive language to bring your writing to life.

In conclusion, describing leaves in creative writing adds depth and vibrancy to your writing, transporting readers into a colorful and immersive world.

Survival Writing Prompts: Imagine Tales of Survival

Mastering the Art: Navigating the Creative Writing Rubric

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Steamy yet Sophisticated: How to Write the Perfect Kissing Scene

One of the most difficult scenes to write is a kissing scene, or really any scene when when things get hot and heavy.

Writers worry about being too obscene (will my mother read this?), or even worse, not vulgar enough (no one wants to be labeled a prude). 

Humans are private creatures when it comes to lust, and illustrating an intimate scene can still make the most seasoned writer nervous.

The perfect kissing scene is found smack dab between these two adjectives in the title — steamy and sophisticated — as it is the balance of coy and crude that can develop into a beautiful scene.

In order to craft the perfect kissing scene, it is important to look back on the work of others in order to see what works. I’m going to give you two examples and explain why both of them work.

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Pause on your obsession with kissing and plunge headlong into the best guide post on novel writing.

You won’t regret it.

Dolphin-Slippery Kissing in Sophie’s Choice

Considered by many to be William Styron’s magnum opus, this story chronicles the friendship between a young Southern writer and a polish Auschwitz survivor. In this scene the young writer, affectionally named Stingo, is observing a painting beside a young jewish girl named Leslie.

“In the shadows her face was so close to mine that I could smell the sweet ropy fragrance of the sherry she had been drinking, and then her tongue was in my mouth. In all truth I had not invited this prodigy of a tongue; turning, I had merely wished to look at her face, expecting only that the expression of aesthetic delight I might find there would correspond to what I knew was my own. But I did not even catch a glimpse of her face, so instantaneous and urgent was that tongue. Plunged like some writhing sea-shape into my gaping maw, it all but overpowered my senses as it sought some unreachable terminus near my uvula; it wiggled, it pulsated, and made contortive sweeps of my mouth’s vault: I’m certain that at least once it turned upside down. Dolphin-slippery, less wet than rather deliciously mucilaginous and tasting of Amontillado, it had the power in itself to force me, or somehow get me back, against a doorjamb, where I lolled helpless with my eyes clenched shut, in a trance of tongue.”

In this selection Styron’s masterful description keeps the reader glued to the page for every swirl of young Leslie’s tongue. So let’s analyze what exactly worked …

Styron uses the element of surprise to initiate this kissing scene. The main character is still in the process of describing the odor of Ms. Leslie when she startles him with a kiss. By abruptly launching into the kiss mid-sentence, Styron is able to catch his readers off-guard. This helps allow the reader to experience the shock of an unexpected peck.

Another use of Styron’s unpredictable writing style centers around the metaphors and similes that take the reader by surprise with their effectiveness.

Who would of expected that describing a tongue as a “writhing sea-shape” trying to squirm its way out the back of your head would actually work? Or that, keeping with the nautical theme,  Styron would be able to make it sound natural when he illustrates a tongue as “dolphin-slippery”? 

Yet these depictions are such colorfully unconventional ways to describe the act of kissing, that they actually work despite their less-than-arousing sound.

Let’s take a look at another iconic kiss scene.

Star-Struck Kissing in The Great Gatsby

In “The Great Gatsby,” Fitzgerald’s story about wealthy Jay Gatsby’s ill-fated infatuation with the already married Daisy Buchanan, this scene describes a kiss between the two on a cool moonlight night.

“His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed like a flower and the incarnation was complete.”

What makes this scene so compelling is the distinct and bizarre analogy Fitzgerald employs in order to describe the moment. A tuning fork struck upon a star? That’s utterly unique.

But remember that the majority of this kissing scene is the anticipation before the kiss. This is what writers most often forget. They go straight to the physical action and forget that the literary foreplay is the majority of the pleasure.

His figurative language in the second sentence makes the process of leaning in for this kiss almost metaphysical, as the speaker explains how this kiss will act as an act of therapy to cure all of the anxieties that plagued his mind. 

In Fitzgerald, a kiss is never just a kiss.

It can be a cure, an epiphany, a disaster, a transformation.

Kiss & Tell: 7 Takeaways From These Kisses

So what have we learned by analyzing these two scenes side by side?

• Spend some time describing in straightforward language what is happening, but don’t shy away from using strange and unusual metaphors for a kissing scene. 
• Don’t rush. Only bad writers treat a kissing scene as just the physical action between two sets of lips. A true kissing scene is the tension between two people before the kiss, the psychology during the kiss, and the reactions afterwards.
• A kissing scene isn’t just about the physical act of kissing. It’s really about the relationship between these two characters. What are they thinking? What do they really want (and it’s not always sex. It could be a connection, it could be avoiding the feeling of loneliness). 
• There is the early sexual tension, the physical act of lips meeting, and the climax can come either in the character’s thoughts about the kiss or in what they do after they’ve separated from each other (like the lightening in the Jane Eyre example below).
• Both in Gatsby and in the Siddhartha example below, the act of kissing becomes something more: it becomes a kind of revelation, an epiphany. Don’t be afraid to have your kissing scene lead your character into a profound realization.
• Is one enjoying it and the other hating it? Is one overthinking it and the other swept up in the passion? 
• In the Lolita example below, you will find an example of a kissing scene where you don’t trust the person describing the kissing. In Humbert Humbert’s version of the kiss, 12-year-old Lolita is the instigator of the kiss. But can we really trust his version of events?

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5 Bonus Kissing Scenes

Gone with the Wind by Margaret Mitchell

Before she could withdraw her mind from its far places, his arms were around her, as sure and hard as on the dark road to Tara, so long ago. She felt again the rush of helplessness, the sinking yielding, the surging tide of warmth that left her limp. And the quiet face of Ashley Wilkes was blurred and drowned to nothingness. He bent back her head across his arm and kissed her, softly at first, and then with a swift gradation of intensity that made her cling to him as the only solid thing in a dizzy swaying world. His insistent mouth was parting her shaking lips, sending wild tremors along her nerves, evoking from her sensations she had never known she was capable of feeling. And before a swimming giddiness spun her round and round, she knew that she was kissing him back.

Siddhartha, by Hermann Hesse

She drew him toward her with her eyes, he inclined his face toward hers and lay his mouth on her mouth, which was like a freshly split-open fig. For a long time he kissed Kamala, and Siddhartha was filled with deep astonishment as she taught him how wise she was, how she ruled him, put him off, lured him back… each one different from the other, still awaiting him. Breathing deeply, he remained standing and at this moment he was like a child astonished by the abundance of knowledge and things worth learning opening up before his eyes.

Middlesex, by Jeffrey Eugenides

The rims of Clementine’s eyes were inflamed. She yawned. She rubbed her nose with the heel of her hand. And then she asked, “Do you want to practice kissing?”

I didn’t know what to answer. I already knew how to kiss, didn’t I? Was there something more to learn? But while these questions were going through my head, Clementine was going ahead with the lesson. She came around to face me. With a grave expression she put her arms around my neck.

The necessary special effects are not in my possession, but what I’d like for you to imagine is Clementine’s white face coming close to mine, her sleepy eyes closing, her medicine-sweet lips puckering up, and all the other sounds of the world going silent — the rustling of our dresses, her mother counting leg lifts downstairs, the airplane outside making an exclamation mark in the sky — all silent, as Clementine’s highly educated, eight-year-old lips met mine.

And then, somewhere below this, my heart reacting.

Not a thump exactly. Not even a leap. But a kind of swish, like a frog kicking off from a muddy bank. My heart, that amphibian, moving that moment between two elements: one, excitement; the other, fear. I tried to pay attention. I tried to hold up my end of things. But Clementine was way ahead of me. She swiveled her head back and forth the way actresses did in the movies. I started doing the same, but out of the corner of her mouth she scolded, “You’re the man.” So I stopped. I stood stiffly with arms at my sides. Finally Clementine broke off the kiss. She looked at me blankly a moment, and then responded, “Not bad for your first time.”

Lolita, by Vladimir Nabokov

Hardly had the car come to a standstill than Lolita positively flowed into my arms. Not daring, not daring let myself go — not even daring let myself realize that this (sweet wetness and trembling fire) was the beginning of the ineffable life which, ably assisted by fate, I had finally willed into being — not daring really kiss her, I touched her hot, opening lips with the utmost piety, tiny sips, nothing salacious; but she, with an impatient wriggle, pressed her mouth to mine so hard that I felt her big front teeth and shared in the peppermint taste of her saliva. I knew, of course, it was but an innocent game on her part, a bit of backfisch foolery in imitation of some simulacrum of fake romance, and since (as the psychotherapist, as well as the rapist, will tell you) the limits and rules of such girlish games are fluid, or at least too childishly subtle for the senior partner to grasp — I was dreadfully afraid I might go too far and cause her to start back in revulsion and terror.

Jane Eyre, by Charlotte Bronte

The rain rushed down. He hurried me up the walk, through the grounds, and into the house; but we were quite wet before we could pass the threshold. He was taking off my shawl in the hall, and shaking the water out of my loosened hair, when Mrs. Fairfax emerged from her room. I did not observe her at first, nor did Mr. Rochester. The lamp was lit. The clock was on the stroke of twelve.

“Hasten to take off your wet things,” said he; “and before you go, good- night — good-night, my darling!”

He kissed me repeatedly. When I looked up, on leaving his arms, there stood the widow, pale, grave, and amazed. I only smiled at her, and ran upstairs. “Explanation will do for another time,” thought I. Still, when I reached my chamber, I felt a pang at the idea she should even temporarily misconstrue what she had seen. But joy soon effaced every other feeling; and loud as the wind blew, near and deep as the thunder crashed, fierce and frequent as the lightning gleamed, cataract-like as the rain fell during a storm of two hours’ duration, I experienced no fear and little awe. Mr. Rochester came thrice to my door in the course of it, to ask if I was safe and tranquil: and that was comfort, that was strength for anything.

Before I left my bed in the morning, little Adele came running in to tell me that the great horse-chestnut at the bottom of the orchard had been struck by lightning in the night, and half of it split away.

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139 comments

How does it feel to really kiss?

Its like opening up your soul, tasting feeling and seeing every colour of the rainbow in their own sensual way, almost like catching a smile in a bottle, its softness, its sweetness… Like breathing in the person like a cool inhalation of oxygen to warm the soul.. Like nothing in the world exist but u and the person… This feeling like ur levitating off the ground floating in the air… What ur feeling cannot be put into words, nor has there get been any part of speech or figure of speech invented to describe it.. Its like an aphrodisiac, mixed with a Pandoras box effect , fireworks glowing inside u from the touch of the persons lips on u.

Woah, dude. That’s deeper than any of the kissing scenes in the article.

That was beautiful.

Wow. That’s quite deep.

Kissing feels like pressing your lips against slightly slimy cardboard and waiting to get on with the reasoning behind the kiss

You should write a book

Wooaaaahhhhhh…. that is some deep stuff but I do find myself agreeing with you.

Love it, you have enlightened me, now back to work and this time I know i need to engage senses

Damn. I’m shook from how deep that was.

that was beautiful…

this was so beautifully written it made me tear up and crave to feel it firsthand

*ahem* could I use this for the book I’m writing because I have no other ideas??

i ask the same thing cause i havnt experienced

It feels as if your whole world has been waiting for this moment. As if all the love inside your soul, as well as your body (with the right person) combine into lust and passion. The feeling of a good kiss is when your person your kissing wraps their arms around you, you feel as if you were safe but are complete aware of how you look, and wanting to impress them. A TRUE GOOD KISS, is the feeling when you feel sick to the stomach but strong as well. That, Sadie, is what I consider to be a good kiss.

I think how it feels, is when they lean in and look you in the eyes, before their lips fall on yours. The feeling of love and passion fills your soul. As if that kiss was meant to be yours. As if the person and you were meant to kiss. When that person grabs you and holds you close and kisses you so passionately, it makes you feel safe and completely venerable to that person. You feel as if your body will explode with the feeling of happiness, the feeling of being rarely safe in the persons hold. As if this pacific person was meant for you. And when it’s over, you just know. No kiss will ever compare. That is a real kiss. To me at least, Sadie.

She leads me to a small clearing. I see the starlight, those beautiful pinpricks of light in the infinite dark expanse of the universe. “Wow…” I stutter. “Beautiful, isn’t it?” she asks, slipping behind me. She hugs me around the waist, and I cringe instinctively away from the unexpected contact. “It’s… stunning” I grasp desperately for the correct word. “Turn around, I have one more surprise” she commands. I turn around, and all I see is her, her vibrant, fiery hair glowing with the silver cascade of the moonlight, the glow of the stars in her amber eyes, her delicate smile and the deep blushing on her face. “You were right, babe, it’s beautiful” I say, and her cheeks redden further. “There’s more” she says, and leans in quickly. Her lips touch mine gently and affectionately. My mind immediately crowds with a million thoughts, but I push them away for the moment, desiring nothing more than to enjoy this moment. Almost immediately, she recoils shyly and blushes uncontrollably. I stand in shock, the swarm of thoughts flowing into my mind. She begins to retreat, fearing that she may have taken things too far, too quickly. I move quickly to her, brushing away her hair. I lean in and gently guide her head toward mine. Our kiss lasts mere moments, but it feels great. Thousands of thoughts are forced away to make room for one single idea. Hold on to this moment forever. I release and rest my forehead against hers. “I love you, babe.” I say, barely more than a whisper. She blushes more. “I love you too” she whispers. Our lips connect once more. Each moment, the feeling of her soft, perfect lips becomes more and more provocative. It is in this moment that I truly realize that I am hers and she is mine. I was meant for this, I was meant for her. This is the first time that I have ever felt that I truly belong. I swear to god, we actually transversed the infinite planes to one in which time does not exist, because I am sure that if we were in the world, my passion for her would be enough to stop time, to hold this moment, to hold her, for ever. I wish to stretch this moment out into a thousand, just to feel her body against mine. She is Ember, she is my Ember, and I belong entirely to her. The world is gone, and we float through an infinite expanse of nothing, just the two of us, Abby and Ember. We love each other and that’s all that we need. We can stay here through all time and eternity. Sadly, the world of the living was not done with us yet. We release our lip lock. “That was… that felt amazing…” I stumble for words again. “I love you, Abby” she says, and I lay down on the ground. She sets her head on my breasts. After hours of thinking, I finally accept the embrace of sleep.

@Sadie and some others asking what a kiss feels like:

You are, very understandably, asking the wrong question. A kiss is never just a kiss. It’s the circumstances that determine what kissing feels like (and the meaning of the kiss is where your story lies). The first time I kissed a boy, I did it because I wanted to know what it would be like. I’d just turned 13 and worldly deciding it was time, but then the kiss turned out to be a huge disappointment. Wet, gross, my nose awkwardly bumping into his; it wasn’t what I’d imagined at all. The way my classmate’s tongue swirled in my mouth reminded me of the spinning cycle of a laundry machine. Was this what the fuss was all about? I wasn’t in such a hurry to grow up after that.

Fast forward to my first real party as a freshman in college where I kissed a man to distract him from his efforts to rape me. He’d drugged me and I woke up as he was taking my clothes off. I asked him to stop, but he didn’t. The ice-cold fear shooting through my veins overruled the nauseating revulsion of his unwelcome mouth on mine as I frantically bought myself time to think up an escape.

Every kiss in my life was different. I clearly remember the first kiss by a man I was deeply in love with despite my resignation that he would probably never want me. I barely registered the shock of his warm lips on mine because my world imploded, a signal sounded and doors closed between us. When the train slowly left the station, I couldn’t even feel my legs and floated to my seat in the happiest of dazes.

I’ve trembled in fear when I could no longer deny a man who’d been patient through many dates with me. I was terrified a kiss might lead to real feelings for him because I was nowhere near ready for a relationship and the impulse to flee, to actually run out of my own apartment, was battering at me but I locked my knees and braved the kiss anyway.

Speaking of knees: they gave out when my secret lover kissed me behind a curtain at a very public party as he whispered promises in my ear about what would follow later that night.

I’ve hated the kisses that I felt obligated to give, the taste of them like overripe oranges. But I’ve also begged for kisses from the men I loved, both for sloppy ones in the shower and sunlit ones in the morning. I’ve danced like a stripper after midnight to gain the affections of complete strangers when I was drunkenly trying to get over an ex, the anonymous arms around me healing the crumpled pieces of me fearing I’d never be noticed again. Sometimes I missed a man so much, kissing him felt like I was taking my first full breath in days. I’ve tearfully kissed men goodbye. One kiss shattered me with the sudden realisation that the man I loved meant for it to be the last. I’ve steeled myself for kisses intending to leave all my walls firmly intact, deliberately concentrating on perfect technique instead. I’ve kissed men intending a quick peck only to be swept up in a wave of heat. Last year I said “I do” before kissing my husband, all the while gripping his hands- both to let him know I truly meant it and to hold on for dear life. You’d think that almost 2 decades’ worth of kisses would qualify me to tell you what it really feels like, but I couldn’t possibly. Because a kiss is never just a kiss. Trust me on this. A kiss can be a pledge of love or a declaration of war, and sometimes it’s both.

Some writers reduce kissing to a purely physical act, and the result is a bad scene because kissing simply isn’t. Walking or cycling or eating an apple tends to feel roughly the same every time. Why? Because basic stuff like eating or moving from point A to point B usually doesn’t MEAN very much (unless it’s the first time walking after losing your legs in a car accident or there’s suddenly a worm in your apple on a bad day). Kisses never really feel the same because they always mean something. Even if it’s just a hasty smack and a “drive safe” between a husband and a wife, a kiss means something.

I think it’s helpful to see kissing as a way to communicate. Think about it: you never really have the same conversation twice either. If someone were to ask you; “what does talking really feel like?”, you’d probably pause. Because talking is never just… talking. Sure, you’re moving your lips, forming words, noises come out, language is chosen, but that’s not what it FEELS like to have a conversation, nor what a conversation is really about. What talking feels like depends rather heavily on the situation and the person you’re having the conversation with. Kissing is just like that; it’s interaction. It’s human connection. That’s why metaphors work so well when describing kisses. I never really know where my hands are during a kiss, but my brain always automatically processes what the kiss means. So when writing, I’d prioritise meaning over logistics and even sensory input every time. Without meaning, your readers won’t feel much either. Ask yourself: why does this kiss matter to these characters?

Also: never underestimate a hug or a brush of fingers or other non-verbal interactions. With the right meaning attached, they can be ridiculously powerful. I think it’s one of the great misconceptions of our time that we seem to think that only stuff in the bedroom counts. Also quite idiotic: all the times we label that same stuff as ‘casual’. It rarely ever is.

Just my 2 cents as I’m trying to figure out how to work the first kiss in the story I’m writing. I thought the article was really helpful. It reminded me of the basic fact that the meaning of the kiss always takes precedence.

Oh wWOOOOOOWWWW!! NOW THIS IS BEAUTIFUL. This is beautiful.

God, I needed to write a comment after reading such an enlightening comment. Thank you so much for your thorough examples and explanations, know that somewhere on this planet someone will keep this in mind when they write their kissing scene <3

It depends a lot on the person.

I personally do not feel much stimulated by kissing, for me my partner’s stimulation turns me on af.

It feels warm, soft & very intimate.

Kissing is like communicating with your partner. It makes you feel certain emotions you have never felt before. It is like connecting with your partner’s soul, and feeling the warmth of your partner’s breath. It helps build a stronger bond with your partner, and makes them feel welcomed.

I think it’s like a really awkward moment of sucking face.

Your breath is all entangled (you can’t breath well because you’re so close) and you’re choosing to trust your partners oral hygiene (like don’t they ask themselves??)

But my friends in relationships say it’s addictive.

In truth, a little awkward. A chaste kiss is just a mouth against a mouth – warm, but not really something one has to get very descriptive about. Open-mouthed kisses without tongue are probably my favorite (wow, I never thought of that until now, actually!) because they’re not as invasive as a kiss with tongue but not as chaste as a closed-mouth kiss. This kiss feels soft, unless there’s lip biting involved (which is hot until someone starts bleeding). Warm, of course. It’s almost like a caress. As for kisses with a lot of tongue, I can’t be trusted to describe such a kiss without letting my bias show significantly.

I’m very late to this party, but this is a great article! It definitely helped me while writing these type of scene’s in my story and the examples given from stories were also very helpful.

what’s your story?

So you think that YOU’RE late? I am like late late lol. but nevertheless, the article was helpful no matter how late people come to it.

Yo, you think YOU’RE late? If you’re late late – I’m late late late late late! Gotta agree though, this article has helped out my writing loads.

You think YOU’RE late? if you’re late late late late late, I’m late late late late late late late! Yeah, this helped though

You think YOU’RE late?

You think You’re late? If you’re….. oh, never mind.

I agree with all, this is a fantastic article and has literally just helped my kissing/love-making scene. Thank you.

lmfao what?

Oh, you poor, oblivious souls. These days, Late takes poor, unsuspecting humans and infects them with the plague you know as the opposite of “punctuality”. No cure has been found for Late, unfortunately.

So this is part of a musical that I wrote for fun but…. So Kate and Thomas are married and she has been abused in the past so she locks him in the bathroom once she sees the bed because she gets scared. He escapes through the door that leads outside and has made his way back into the room (Thomas tries to sneak away but Kate spots him)

Kate(spoken): T-Thomas….. I—– (turns away as if to leave) Thomas(running over to her and kissing her, silencing the apology. She pulls back and he lets her): Shhhh…..it’s okay. He did more than just shove you a couple times didn’t he? What did he do to you? I want to know everything. ( Kate stares at her hands) Kate (whispered): Knives can fly (Thomas takes her hands in his and rubs them tenderly in a circular motion): Look I can wait until you’re ready to talk but I’m also not leaving this room until you tell me everywhere he hurt you and how he did it. Kate(whispered): okay (Her shoulders are trembling and he grabs them gently but firmly to steady them) Thomas( soothing): now where do you want to start? …… So the musical continues and he gets her to tell him everything. She is also subconsciously buttoning her blue jean jacket up as she talks …… * so to make this easier I’m turning the rest into a story format on here* Thomas shakes his head in anger,” that man better be praising the Lord that he is in jail because if not HE’D BE DEAD. Kate begins to tremble and pulls away.”Thomas, please you’re scaring me,” Thomas relaxes and a look of worry crosses his face. “Sorry baby, I just got a little mad. Look I can sleep on the couch until you’re ready” he starts to leave but she stops him “Don’t” her voice is steady now, no longer afraid. “We don’t have to, baby” he again goes to leave but she stops him again. ” Please,” she kisses him and he immediately pulls back, worry written all over his face. ” Katy-cat” ” I want to ” (I can’t italicize but the want is emphasized) she kisses him again. Thomas pulls back and stares her in the eyes, ” are you sure?” She hesitates the fear visible in her eyes for a brief second before determination takes over. ” Yes….just….go slow” His voice grows gentle but firm as he says ” okay. If you start to panic, I’m gonna stop immediately and go sleep on the couch. Deal?” “Yes” Thomas scoots closer and starts to unbutton her jacket. [The stage darkens. The last thing visible is Kate’s jacket falling to the floor]

That’s really good. Great job!!

Thanks….really helped.. I’m 15 writing my first novel that is romance but fiction based….looking for someone to sponsor me to act it probably during the August holiday.

17 and working on my own stuff my dude. Keep writing, be as consistent as you can manage. You got this.

15 and writing a novel too. It’s nice to see all the positivity around

14 and trying but keep getting distracted. I am hoping all of you get it done and published.

17 and about to write a romantic and dangerously feisty scene. Helping a ton!

13 and trying as well. It’s a fantasy but there’s lots of romance :happy-face:

I write books in my free time, and they’re romance books, so yeah, this article was pretty useful for future references, thanks so much. does anyone know how to get a book published?

Honestly, anything that uses the phrase ‘gaping maw’ and ‘dolphin slippery’ should not be used as a template for a good kiss scene. Unless you’re into making out with Lovecraftian monsters those aren’t phrases you use to describe kissing. Vore, maybe. Kissing, no.

Thank you. I read that and my nose wrinkled like “whaaaa???” Is it surprising, yes. Is it a scene that would make a reader sigh in bliss. Absolutely no. Wow. That is a descriptor I would 100% stay away from.

Damn it was just mind blowing!!

Yessssss @TheBoi yesssss! Like yesssssssssssssss

“Are you going to be okay?” I whispered. “Yeah. Let’s just get it over with.” She took off her sweater. “Okay.” I breathed. She wrapped her arms around my neck and teased me with her big green eyes. “Okay,” I repeated. I awkwardly put my arms around her waist. We stared into each other’s eyes for an awkward second. I leaned down, and she brought her head up. Our lips connected. She deepened the kiss. With one hand, she took the hat off my head and dropped it on the ground. She ran her hands through my dark pink hair. I had dyed it because I constantly had trouble with being kind. I had little sympathy for people, so the color pink reminded me that some people do hurt like I do. It reminded me to have compassion for others. I got made fun of a lot for having such a “girly” hair color. I never listened, though. It was a decision that I made to better myself, even if I got beaten up for it. We both shifted so that Ash was on my lap. I tugged at the bottom of her crop top. My hand slid up her spine. I felt a tremor go through her body. My hand slid back down her spine, resting at her hip. I unconsciously tilted my head to deepen the kiss. We kissed more and more passionately by the second. After a moment, I unintentionally slid my hand down and lightly touched her on the back of her thigh. She stopped moving. “Stop.” “What?” I pulled away. “What’s wrong?” “Just stop.” She pulled away and got up. Without looking back, she ran away. I stared after her in disbelief. It took a moment for it to click. “Oh, no. I’m a terrible person.” I put my head in my hands. “What did you do?” Victoria’s expression hardened. I beckoned to her. I whispered in her ear, “I touched her where he did.” She stared at me, horrified. “You are a terrible person.”

This is an excerpt of a story that I’m working on. This part is when one of the main characters, Alexei, and his best friend, Ashlynn, are playing Truth or Dare with their class at a party. Before they were playing, Ashlynn got assaulted by a classmate. Alexei knocked the classmate out in an attempt to protect Ashlynn. But anyway, Alexei gets dared to make out with Ashlynn, whom he affectionately calls “Ash.” At first he blatantly refuses, but Ashlynn insists that it doesn’t bother her, and so they make out. Victoria is Ashlynn’s other best friend, by the way.

That’s amazing!! I’m an aspiring (fan) fiction writer and hope to actually be as good as that one day ahahaha….

Same haha, i write alot of fanfiction but i’m moving on to an actual novel soon.

wow!! me too this article helped me a lot. im 13 and i write lots of fanfictions on wattpad and kissing scenes are the hardest to write.

Damn. I want more

I’m having a hard time writing my first kissing scene. This helps lot!

ok…? once i had a dream where i was playing Spin The Bottle (not that I’d ever do that in real life) with some acquaintances of mine, and I had to kiss this one guy that i don’t like very much. it was a pretty weird dream.

Lev snickered slightly as he put his forehead to mine. Our lips were so close I could have easily kissed them. I felt his breath on my lips and closed my eyes, cherishing the moment. He leaned in closer and placed his lips upon mine. We were like that for a minute until he heated things up a little. He Kissed me harder as he gently tugged at my hair. “L-lev!” I exclaimed, pulling away a little and gasping for air. My eyes met his and I relaxed. His Green eyes gave me a lustful look.

What do you think?

That’s cool!!!

personally i don’t believe in the zodiac, but if you use the zodiac kissing/cuddling/flirting styles that match your character it can really help, or at least i think so here’s a part of my writing: Bill and Ford sit on the grass. Bill presses his forehead against the side of her face. Stanford just pokes him in the cheek. Bill smiles and closes his eyes pulling Ford closer. She pushes him back a bit.

“Aw, what’s wrong?” Bill asks with a fake pout.

“Nothing.” She says softly while laying her head on his shoulder and scratching the back of his head. Bill begins to pick the wild buttercups and and evening primroses to weave a crown which he put on her head. Ford gently pecks him on the cheek and chuckles softly. He pulls her in closer again and kisses her. Her eyes widen at the surprise but she soon became familiar with his fiery aggressiveness. As they fell into the grass Stanford broke from his iron grip and started giggling.

“I know you’re incapable of fun, but you should try laughing more, its so cute.” He smiles.

She just chuckles some more. “I don’t know how to respond to that.” He grabs her chin and kisses her again, this time she expected the bite. He presses his forehead against hers and looks at her. “Your eyes are like swirling galaxies.”

“I’ve heard it before.” She says pulling his tie and poking his nose.

“I should become an an astronomer because I can’t stop studying them.” She hits him on the back of the head before giving him another peck on the cheek.

“Do you know how hard it is when you have no one to talk to? When you are the only one that is different? Do you know what it feels like when nobody is there to love you? I don’t think I can do this anymore.” Vladimir put his hand underneath my chin and made me look at him. His bright green eyes lit up by the mini him. “No one and nobody?” I could feel his fire burn through the coldness that I was feeling. His hand that was on my chin moved to my cheek and his other moved up my arm. He trailed his fingertips on my forearm barely even touching me. It made me shiver, he didn’t look away from me when a car honked. I was scared lost in the pools of his eyes, I didn’t know if I wanted my first kiss to be with the person I’m not even supposed to be attracted to. Before I could even think of his brother finding out his lips parted mine. It was gentle at first he wasn’t sure if I wanted it, then it got firmer as I didn’t pull back. His hand went behind my neck and pulled my closer to his face, the other hand laying my on the ground. I don’t know if I was expecting fireworks, but this felt different than what I had imagined my first kiss would feel like. My hands wrapped around his neck before I could even think about anything. This is what I wanted. I didn’t want his brother, I wanted him. I felt the sand in my hair as he rolled my on top of him. This is apart of my fiction story where this girl is engaged to the prince, but found out that she is more attracted to his brother. This had happened before with the brothers where Henry’s (The one that the girl is engaged to) ex-wife thought she was in love with Vladimir and Henry had her killed after he had found out that she was sleeping with Vladimir.

I love it so much! Is it being published? I would love to read it.

“Can I kiss you?” I bit down on my bottom lip, nodding. “Close your eyes.” I shut my eyes, tilting my head slightly. Her hand moved to the small of my back, steadying me. She tilted her head, and I felt her hair brush my elbow as her lips met mine. I moved my hand down her face, resting it on the back of her neck. She wrapped her arm around my waist as she moved her mouth against mine, anxiety and worries making way to numbness. It was the kind of kiss that was so intoxicating your brain couldn’t handle thinking about anything else. We only broke when we needed to breathe, and I briefly basked in the image of her heavy-lidded eyes and slightly messy hair before our lips met again. She deepened the kiss, pulling me on top of her so that my legs were straddling hers. It was so much and not enough all at once. A high pitched scream broke us apart, ringing through the entirety of the school grounds.

The second the door closed, Henry was on Michael in a heartbeat, pinning him against the wall. Already it was far out of bounds of public modesty. Michael could feel Henry ever so slightly brushing his tongue over his bottom lip, requesting entrance. Michael denied. Rejected but not disheartened, Henry moved down to Michael’s neck. A small moan slipped out from between his lips as Henry nipped just below his ear lobe, before he made his devious way down to suck a lovebite on Michael’s sunkissed skin. His slender fingers were gently caressing the curve of Michael’s hip, while the other was softly grasping his jaw. Henry suddenly had the power to turn his husband’s legs to jelly, leaving him undone with just a few kisses and some very strategic touching. Michael felt helpless, his eyes shut and his head lolling backwards against the wall in a trance of tongue. At last, Michael gave in to Henry’s wordless requests, and as his sweet lips toyed with his, he was finally granted entrance. Michael struggled to keep his footing as Henry’s tongue softly mapped every inch of his mouth. As they broke apart for air, Michael took the opportunity to sensibly suggest that it probably wasn’t the best idea to get intimate in the hallway, as much as he wanted to. Henry agreed.

“Do you want to take this upstairs, or finish it later?” He smirked, before turning to inspect the delicious red mark he had left on Michael’s neck. He seemed proud of his work, and Michael couldn’t disagree. He was shaking, and felt like if the wall behind him wasn’t there, then he would have collapsed ages ago.

Michael considered his options for a few seconds. He could either go upstairs and be rendered subject to Henry’s magic, or walk away and start cooking dinner, and risk his kids seeing the red mark on his neck. He didn’t think he had enough mental strength for the latter.

“Let’s go up…”

Michael went up the stairs first, so that Henry would be there to catch him if his knees gave way. When he reached the landing without falling, he couldn’t say he wasn’t a bit proud of himself. He opened the door on the left to their bedroom, and Henry stepped in after him. He slowly shut the door behind himself, a kind of hunger in his eyes which Michael couldn’t quite place. It was almost predatorial, but he liked it.

“Come here. Gosh, your lips look…. delicious.”

Michael obliged without word.

“Gosh, your lips are delicious.” Henry murmured, sending sparks and shivers up Michael’s spine.

i can’t stop reading this, it’s really well written. i always reference it when writing because of how good and descriptive it is. great job!

That’s soooooo awesome!!! If that book is coming out, I will buy it. I have been looking trough the comments for so long and this is until now the best of all. I just wrote my first kissing scene and I think it ended up pretty good. This gave me so many ideas and I hope it’s okay, if I copy it? That was just really good job!

I’ve never had the chance to ever kiss anyone so making one up is even more difficult then I could even imagine I don’t know how to describe it but this sort of helped

Same, I’ve never had a kiss before so it’s harder then it should be

he grabbed my hand and pulled me back inside his grip was firm and the next thing I knew he slammed his lips to mine and nearly knocked all wind from my lungs. I hardly had time to react before he pressed his tongue to the seam of my lips I opened my mouth in shock he delved inside my mouth. It was a very sloppy kiss with the strong scent of mint being exchanged in the intermingling of our billowing breaths. He let go of my lips and we took in a deep breath before he dulged back in I could feel his saliva as it rolled off my tongue and seeped down my throat with every push of his tongue against mine.

I’m working on a romance novel and these totally helped!! There are two characters. It’s being told from the girl’s perspective. Neither has had their first kiss. The girl is uninterested, but the boy really likes her. Gradually, she begins to like him but they aren’t dating. There is some low-key flirting and a few romantic moments but nothing serious. I’m planning to have to boy go in for a kiss, but I have no idea how I want to describe it. He’s kind and considerate, but he’s also been having feelings for her for a long time and he wants to go all in. Anyone here have something I can tweak that I can use?

Here is one that I have been working on:

We stared at the sunset for a minute. I stared at the rosy clouds and commented, “It looks like I can just pluck the clouds out of the sky and eat them. Don’t they look like cotton candy?” He laughs. “I love the way you think.” I sigh, stretching my arms above my head and then placing them behind my back on the soft mossy ground. I lean on my elbows, and then, eventually, lie down completely. I fold my hands behind my head and watch the last of the sun’s rays disappear below the horizon. The first stars begin to peek out from the black curtain sweeping above out heads and the light of the full moon. There aren’t any crater or bruises — just a polished sphere of white looking down at me. I glanced at Ethan, surprised to realize that he was looking at me. Or, more specifically, my lips. “Is something wrong?” I ask. “Is my make-up smudged?” “Or something,” he agrees, staring at me with something in his eyes that I hadn’t seen before. I couldn’t help but feel a little nervous. “Is something wrong?” my voice caught. He didn’t reply, instead leaning in closer. He lay down next to me, propped up by his elbow. His face was only a hair’s breadth away from mine. I turned to look at him and he pressed forward. He kissed me. I had known in my heart all along. He loved me. And now it it me full force. His hand crept up my spine, pulling me in close. His hand rested on my hip and behind my neck. His lips started to open mine. Trembling, I obeyed. I almost couldn’t breathe as his roving hands swept up my hips. I knew that he wanted me to kiss him back. I wanted to as well, but I was so shocked that I was completely immobilized. He pulled away. “Kiss me,” he whispered. I pressed my lips to his. My hand ran through his dark hair. I felt a tremor go through his body before he wrapped his arm around me. He slid his body on top of mine, bracing himself with his elbows so I didn’t get the full brunt of his weight. He kissed me harder, almost aggressively. His mouth opened mine. I swiveled my head back and forth, mapping out his mouth. I was wrapped up in the kiss, and I didn’t want it to stop. His hands clutched my forearms, preventing me from moving. His arms stopped carrying so much of the weight and he pushed down on top of me. He ran his fingers through my hair. I couldn’t breathe, what with my shock and his weight. I pushed off of the ground and he slid his body off of mine. In the process, his lips parted with mine and we both panted heavily. Then I scooted closer. I hadn’t been this close to someone before, and it made me feel safe. I kissed him gently, nothing fancy. I stood up, knowing that we couldn’t stay here forever. He did the same. “Goodbye,” I murmured, my lips wet. And before he could say anything, I took off, sprinting towards my house.

I really like the writing, just the “swiveled my head back and forth” part is a little weirdly worded.

Okay, I have a fanfiction that I’m working on, and I’m trying with the kiss scene. Please tell me your thoughts. The setting is they are laying on Will’s bed on their sides looking at each other: He cut me off with a sloppy kiss, due to our awkward position on the bed. I kissed back, grabbing his arm to pull him on top of me. Will nibbled my bottom lip making me let out a soft moan, which Will took as an opportunity to slip his tongue into my mouth. We moved in sync, passionately kissing each other. I felt connected to Will at that moment, more than I ever had before. He pulled off my lips and swiftly moved to my neck. He sucked and licked his way down, leaving marks that I’d later have to cover up later. I tugged at the hem of his shirt, and he knew what I wanted. In one quick motion he whipped off his shirt, and I sat up for a second to take off mine. There was a gleam in Will’s azure eyes that made chills crawl down my spine. He shoved me back down on the bed and kissed me again. I ran my hands through WIll’s golden locks, tugging at the back, making Will groan in response. Will had been hovering over me this whole time, but he now layed down, the weight of him crushing me, but in a good way. I could feel his boner digging into my thigh, which just turned me on even more. He left my lips again, kissing down my stomach. I was about to tell him to keep going when there was loud banging on the door. “WILLLLL!!! NICCOOOOO!! DINNER!!” Kayla yelled.

Oh my gods. Solangelo?

Oh my gods!!! Solangelo!!!

OMFG!!!!! SOLANGELOOO! LESSGOOO

wow nice touch really felt real

I am a complete and absolute bookworm. I am writing a novel [trying to] to enter in the young authors award. That article was really helpful as were the comments. I have a brief idea on how to write a kissing scene as though i am actually there. Thanks guys!

I’m writing a story, and I tried to write a kissing scene, but since I’ve never kissed anyone, I don’t know how good or bad this is.

“Well, I don’t know, there’s just something that I really wanna do,” he says, resting his hand on the back of his neck. Before I can ask what, he presses his lips to mine. At first, the kiss is sweet, kind of like a looooong peck. But all the innocence is stripped away as he parts my lips with his. He slides his tongue along my bottom lip, and I moan softly. He slips his tongue inside my mouth, and we battle for dominance as he leads me towards the bed. He gently pushes me down onto the bed. He climbs on top of me, resting on his elbows, careful to not put his full weight on me. He connects his lips to mine once again, and as soon as our tongues meet again, the door opens and we jump apart, Will quickly climbing off of me. I look over to see who interrupted our heated make-out session, and I see Connor standing there, smirking.

so ive been working on this story for a while now in 14 and never been kissed this website gave me a good idea of what to write could I maybe get some feedback . thanks guys 🙂 stay safe .

now im stood here in the middle of the hall looking around frantically , i need to find him right now . i take a step forward because i think i saw him but i was wrong then i take a step back in frustration and i bump into someone as i turn to apologise i see him his perfectly sculpted face.

for whats eens like eternitys we just stare directly into eachothers eyes most people would look at his eyes and see beautiful green baut at this very moment i see mountains and maps and thousands of miles of beautiful senary surrounded by coulors no one even knows exist and only i will ever see. i see myself and i see a future full of love as he looks down at my slightly parted lips. i know whats about to happen we both lean into eachother in slow motion only breaking eye contact for a few seconds to look down at his lips . our mouths touch the slightest bit and i pull away with anxiety then we begin closing the gap even more and then gradually this small peck becomes this much more passionate kiss with its own lifeline surviving by the slight movements of our toungs dancing in our mouths were connected body and soul in this moment the rest of the world spins so fast it becomes nonexistent in my mind . i lean further in to hold him and keep myself from melting into the floor, our eyes are closed but i can see clearer than i ever have. Its asif i can feel fireworks blazing , glowing and igniting something within me . were completely and utterly in sync in this very moment, i can feel his hands running through my hair and im tugging at his this moment couldn’t be anymore perfect. We both slow down and cautiously pull back i noow remember that everyone is staring at us and i can hear them clapping but i don’t care i look up into his eyes as i hug him and i realize he doesn’t care either we were together and thats all that mattered .

This will be the first kissing scene I’m going to write for my book, hope someone can give me a feedback. I’m a bit scared it’s not good enough..

And for a brief moment, they both just stared fondly at each other eyes.

Then Yoongi gently held Aen’s face with his other hand, tilts his head and slowly started leaning towards her.

Aen felt her heartbeat accelerate and when Yoongi’s face was just an inch away from her face, she abruptly close her eyes.

Yoongi felt the same, although his heart has been beating rapidly ever since Aen said she loves him for who he is. And when he saw her close her eyes, he smiled.

And finally the feelings they had for each other was sealed as their lips meet. 

They both felt happy and complete, and the 0 on their wrist glowed at the same time as well indicating their souls have bonded .

Aen feels Yoongi put her hand that was on his face behind his neck, then his hand was on her waist and pulled her a bit closer.

The kiss is sweet and is full of affection.

they shared made them feel like time had stop just for them and that this moment was already predestined to happen.

And as they both parted for a breather, they look at each other’s eyes and smiled.

The suprised studio date was really worth it.

I think it’s great, I myself don’t really like the very graphic kiss descriptions (that’s just me) but this is really good! make it a bit more consistent either past or present tense, as you’ve got “they both just stared fondly” and also “Aen feels Yoongi” so, just choose past or present tense and stick with one or the other is my advice.

I have never been kissed before im also working on something this is really good!!!!

Omg, guys! These are so good! I’m writing a novel, however, I have never been kissed before. Tell me what you think:

I stared at the sunset, the swirling twilight mixing with the dark purples and oranges and the red sun to make a spiraling masterpiece. I sighed with content, propping myself up with the heels of my hands. I turn my head to scratch an itch when I see Andrew staring at me. “What?” I ask, nervous. Then I clear my throat to try and remove the squeak in my voice. “Is something wrong?” It doesn’t work. Why am I nervous? I shouldn’t be nervous—nothing’s going on. After all, I’ve known him for a month now, and there haven’t been any sparks. Have there? My knees start trembling, and in an effort to retain our friendship—and my dignity— I smooth my skirt over them. In an effort to look casual, I say, “This looks like something you’d paint, Andrew.” He shakes his head and doesn’t elaborate. Eventually, he stands up and holds his hand out. I take it and gently pull myself up. “Audrey, there’s… something I should tell you.” He stares at me with that intense look in his eyes, that look where you can tell he’s thinking hard. His wide, blue eyes stare at me, and I reach for his hands. There’s something so irresistible about his stare. And before I can stop myself, I lean forward until my face brushes up against his. I wait a moment, in case he wants to pull away, but he doesn’t. And for a second, I doubt myself. My emotions are so tangled, no comb could straighten them. But there’s something that could. So I close that last bit of space and press my lips against his. I can tell he’s been waiting for this moment. And strangely, semi-consciously, so have I. He slides his hands down my hips and I shiver, and he senses it. He cradles me in his arms, tilting his head to deepen the kiss, and I part my lips. I wrap my arms around him, closing every last bit of space, and he picks me up; I’m much shorter than him. I run my hands through his thick, brown hair and smile. I never thought I’d be touching him like this before. He carries me to his house, setting me down on the porch. We part for a moment, breathing in, before indulging ourselves once more. I’ve always been so shy, but that part of me melts away. I tug at his shirt, urging him to take it off. With a sexy smile, he takes my hands, evading my efforts and leads me inside. We make it to his bedroom, not bothering to close the door before he scoops me up again. I feel so… brave in his arms. His hand slides up my back, warm and soothing. I melt into his touch and squeeze him to me. I want more but… I just can’t seem to get it. I pull away, and our eyes meet. He understands. He feels it too. And with that, he’s on top of me, tugging off my shirt and his. I run my hand down his chest, hard with muscle. I’m so indulged I vaguely sense him working at the button on my jeans. I lay back on the bed, stretching out my arms, inviting him to join me. He does, pressing his lips to mine, his minty breath is intoxicating, pulling me in, I scoot closer, my heart pounding. His lips part mine, and our tongues meet. I map out his mouth, feeling every inch. I slide my hands down his waist as his hands tangle in my hair. I haven’t been this close to anyone, ever. I don’t want anything else. I just need him. There’s no distractions, we dissolve into each other’s bodies. It all happened so fast, but I can’t feel anything else. There’s nothing else but Andrew.

Ok, are you a proffesional writer? Because it sure seems like you are . I mean seriously. How do you evn get that good?!

Ok, so this is a story that I finished a while ago, and I’m just gonna type up the kiss scene here, that is, if anyone can see it. My comments are kinda unapproved, so here goes. This story is about a girl named Amethyst who is secretly a hero named the Black Jaguar (not the Black Panther, that’s someone else.). She is friends (okay… more than that) with a guy named Easton. And as a superhero, Black Jaguar has a partner named Blue Tiger. This is the kissing scene between Amethyst and Easton, where they are in the woods, and (for some as yet unknown reason) they’re talking about their favorite types of kisses. This was my very first kissing scene I ever wrote, so please just read, and don’t judge. (the word are slightly changed from the original for this, btw.)

“I like the really slow kisses, the kind that go for a long time,” Easton said. “Shall I demonstrate?” Now Amethyst was completely shocked. Her heart began to hammer in her chest. “On me?!” she squeaked. Easton waggled his blonde eyebrows at her. “Of course on you, silly! Who else is there?” Easton said. Around them, the woods were mostly silent, except for the occasional bird song. “So do you want to?” Amethyst blushed fuchsia. In a very small voice, she said, “OK.” Easton then scooted over to her, his sea-green eyes filled with a smoldering passion as he came closer and closer, until he was less than an inch away from her. Amethyst’s heart was thumping hard, and her soft, freckled cheeks were a fiery shade of red. Easton placed his strong hands gently on her small shoulders, and lowered his face to hers. His forehead touching hers, he brought his lips to hers, and he kissed her gently, pressing his mouth to hers. The feeling of fire completely consumed Amethyst, and she was lost the kiss they shared. Their first kiss was a long one, full of mutual passion and a shared love. Easton buried his hands in her dark hair, running his fingers through it as he kissed her with an unearthly fire and passion. Amethyst felt herself falling backward, landing on the mossy ground with a slight thud. Amethyst ran her hands up his chest, it being surprisingly muscular for someone so slim, and Easton rolled to be on top of her, letting out a groan of delight. Easton’s hands moved out of Amethyst’s hair to keep himself up, and Easton gently opened Amethyst’s small mouth to let his tongue in. Amethyst’s violet eyes opened in surprise at the feel of his tongue in her mouth, but she eventually succumbed to Easton’s ministrations. Easton lifted his head up, long enough for him to whisper, “Amethyst, why don’t you kiss m–” but the rest of his sentence was cut off by Amethyst pressing her lips to his. Amethyst felt like her skin was on fire, as heat coursed through her veins, but she kept it up. She always wanted to be with this boy, she realized. Placing her hands on Easton’s strong shoulders, she sat up, and they stopped for a moment, the kissing having made them breathless but grinning. Amethyst swooped towards him, her mouth making contact in a moment, and she landed on top of him. With her on top of him, and Easton taking advantage of this moment to run his hands down her skirt-covered legs, and Amethyst placing her slender hands under his shirt and up his back. Finally, they broke apart, breathing heavily and lying on top of each other. “That was…great, for a first, second and third kiss,” Amethyst panted, getting off of Easton. Then they got up and ran hand in hand, into the distance, where destiny was calling their names.

In my book, it is pretty different than the rough draft, where someone sneaks up behind them and takes a picture of them kissing. And in the book, they have to cut the make-out session short to go change into their superhero costumes (but neither knows that the other is a superhero). Also, shouldn’t there be a stopping point in the kissing? I mean, I have standards for this stuff, so….. yeah. Anyway, hope you like it, and I hope I did it right!

(I’m a 15 year old girl and this is my first “spicy” scene as I like to call them XD.)

His breath is hot on my neck and I can feel a bulge pressed on my lower back. “What do you want me to do?” He whispers in my ear. Tingles shoot through my body from hearing those words. “I want you to show me you love me.” I say breathily.  His hands snake around my lower back to my stomach slightly pulling me closer. Soft kisses trail up my neck as he turns me around planting a passionate kiss on my lips.  Our lips move in unison changing from passionate to fiery lust. My hands touch his face bringing him closer to me deepening the kiss. He pulls away breathing heavily looking into my eyes.  “Let’s go to the bedroom.” He says with a husky voice. In one smooth sweep, I am carried into the air. We share teasing kisses as he walks slowly to the room. Sitting on the bed I straddle him, he grins before flipping me over with him on top. With a look in his eyes for approval, I nod. He kisses from my neck to between my breasts to my stomach then stops to look at me. He kisses lower and lower teasing my hot skin before opening my legs… (So, how was the scene?)

It goes very quickly. I think its too short. I don’t know where the clothes come off or if she’s nervous or if he’s excited or…

i would suggest maybe describing how the kisses feel (tingling, shocks, sparks, etc.) if you’re going to make this type of scene i advise to put more details in how they look. if they are blushing if they are taking in each other’s eyes (what colour are they?). adding what type of clothes they wear.

wow 😳 it’s crazy

Hey everyone, I’m really late to this, but please tell me what you think! I would love any feedback – this is just the middle bit of a kiss description. I realise it’s not that good but the only way I will improve is from your feedback.

Her skin was soft but her lips were chapped and weathered. As Michael ran his hand across her cheek he felt an irregularity, a scar of some kind. In his opinion it made her more beautiful and unique, like a gorgeous butterfly. She was new, yet felt oddly familiar. She fit perfectly into his arms, her lips seemed moulded to the shape of his and his hands curled around hers so perfectly he felt they had been made for him. Close up, she smelt familiar, somehow: wine, roses, honey… she reminded him of his home. She tasted like anything amorous. She tasted like tenderness, warmth and intimacy – he imagined holding her by a bonfire, watching the reflection of the flames dancing across her skin. She tasted like pure, clear water, as though it came straight from a spring. She tasted like passion, like pure, unrestrained passion. Whatever she tasted like, it made Michael want more.

Dang! This is soooo good. It’s really deep and descripitive. You don’t even need feedback!

DANG! It’s brilliant! Really deep and descriptive. I tried to think of feedback but it doesn’t need any; it’s so perfect. Great job dude!

Wow that’s awesome! I’ve never written a kissing scene before nor have I been kissed but I’m doing my best to figure out the best way to do mine.

wow, that was really good!!! you put the right amount of decryption in every little action and you pinpoint every single detail beautifully

“Can you come here Ezlyn?” “Sure David.” We walked into the woods and David started speaking. “Over this year I have realised how I need you in my life. I realised that I woke up to see you smile and laugh. I can’t live without you, I need you by my side.” “David,” This was very odd for him. “No let me finish. I need to love you. You are so special to me, you can’t even know how much I love you. I love you so much.” He leaned forward and I took a step back to find my back against a tree. My nose breathed in his sandalwood cologne and I was immediately calmed. He wiped a strand of hair from my face and gently began to kiss my lips. He wrapped his hands around my neck and the kiss became more aggressive. My stomach flipped and knotted and my knees became weak. Time stopped and both of our personalities changed. David became bold, I became shy, and I loved it. David stopped to breathe and then came back to my face. His kisses were like black holes pulling you in until you are lost. It was a sweet but bruising kiss that left me wanting more, but it wasn’t enough. I grabbed his collar, pulled his blue shirt and himself closer. I slipped my hands through his hair, getting caught on knottes. He picked me up and leaned me against the tree. I wrapped my legs around his waist, supporting myself. His tongue pressed against my lips, asking for permission to enter my mouth. I granted it to him. His mouth tastes like a sweet mint, spicy but not overwhelming. His grip slipped and we fell to the ground, he chuckled. “Hey, that was n-not fun-ny.” I whispered in between kisses. “Then let me kiss the pain away.” “Deal.” He laid on top of me kissing me and making me forget. He made me forget the past year almost completely. David slowed down until he stopped, leaving a searing heat on my lips. “Well, that was, uhh, hot.” “Hot, that is the word you came up with David. What about ravishing, heated, sweet, thrilling or even exciting.” “Yeah those words are better.” “Consider yourself lucky.” “Why, Ezlyn?” “Well I don’t kiss a lot of people.” “You haven’t kissed anyone before me have you?” “No. That is very rude to say, but, it might be true.” I whispered. “I haven’t kissed anyone either.” I smiled knowing that David was mine and only mine. He wrapped his arm around my shoulder and I rested on his chest. We fell asleep like that and I slept better that night than I ever did in the past year. I am 12 and a horror writer. I have copyrights to the book.

It’s really good. David’s sweet and Ezlyn is super cool. Nice job!

These stories are awesome! You should all be very proud of yourselves! From Starlight,11

i am writing a book about a girl and a boy who have been friends forever and everyone ships them. she is asexual sadly. im going to be 13 in a few weeks, I’ve never been kissed before and don’t think i ever will cause im hideous, and writing kissing scenes are the hardest since ive never experienced it before i hope ya like it, (sry if it’s kinda cliche) so here it goes: it started to snow. i started to shiver to try to calm myself down so Luis wouldn’t notice, but he did. he grabbed his jacket and put it on my shoulders as we kept walking down the sidewalk. this was normal for us, to flirt a bit, we had been friends since we were 4 and i didn’t want that to change. “so i’ve been wanting to tell you something, for a while now, . .um” he said breaking the awkward silence “yeah?” “i really really… really like you, and i know what people say about us and that we’re only friends but i can’t hold it anymore” “don’t, no please, were just meant to be friends nothing else, i don want to ruin that” “Please, i have loved you ever since” his voice started to break “im sorry, i really am” “please, can we just try?” “im sorry im just, im really sorry i just can’t fake me feelings towards you, i can’t it would crush you. we would ruin it all! we wouldn’t be like the cute couples in movies where we just end up together” “can’t we just try” he was trying to hold back tears, challenging to fall down his cheeks “no we can’t, i would ruin it all, with my temper and and with everything that i am i would break you! even more than you are now!” “so now were just going to forget everything?” he said in a fierce tone “no! i love you i really do, but not in that way! i reall-” he cut me off by kissing me. iaccept the kiss. it started slow and passionate. i dipped my head getting a better angle of his mouth. we fought for lower lip but eventually calmed down. he took in my gray eyes when i pulled back. “what?” he asked “i thought we where-” “im sorry i can’t” i cut his off looking into his pale blue eyes “wait what?” he asked in confusion “im really sorry, i really am but you know what i am i can’t do this to you” “i can’t believe it. i can’t believe that i actually thought we where going to work out” “no, i don’t mean in that way!” “so we can try?” “no, im sorry i really am, but i cant” ~ this wasn’t really a true kissing scene i just want feedback on what i should do to make it more interesting, it’s terrible, i know but please leave critisism blow i would love to get more ideas…

I think one thing you could try is to make the dialogue less…just them talking, maybe describe how they’re feeling, what they’re doing, etc. It’s good!

Thanks! Your support helps me write.

I’m 12 and I’m attempting to write a romance/mystery novel. I haven’t ever been kissed before so do you guys have any tips for writing a kissing scene? If you do please comment them and I’ll try to use them in my scene. ONce I finish I’ll post it.

I just finished my kiss scene from the novel that I’m writing. So basically Niko and Cinder are from another universe but Cinder let and came to our universe. Niko is a shy soldier with a fierce side. She gets kidnapped and brought to our universe (more commonly known as Universe 27B to her) and is experimented on. She escapes and finds Cinder. There is a special bond between her and Cinder. So here it is.

Everything about her was perfect. The sheer softness of hair running through my hands like water running through a stream. The feel of her lips on mine is just like before. Just like the way she didn’t want to do this or the way that she passionately kisses. I push against her lips and I can sense this is what she wanted, no needed. I feel the pressure of her lips pushing me very slowly towards the edge of the couch. Her skin is cool like the air on an early morning walk. Ohh this is what I needed. I pull away knowing I’m about to fall off the couch. I grab her arm and pull her into the dark corner because that’s where it’s about to get even better. “Ohh Cinder” I hear her moan. All I’m focused on is her beautiful body. I slowly pull her arm towards the corner while still caressing her shoulders and neck and lightly press her against the wall. I pull away to tell her something but she just grabs me and presses her sweet lips against mine even harder to silence whatever I was trying to say. I don’t even know at this point. It’s so overwhelming I can’t remember what I was going to say. All I can think about is how much I’ve missed her. I open my eyes as she pulls away. “No baby, don’t leave.” “Never said I was.” She says with a smirk as she tugs at the hem of my shirt and slowly pulls it off. So this is what she wants.

This is just a first try so please let me know what you think. Thanks! I groan and try to get up. “Woah, Theo. You were just shot. Hold still and let me try to.” I start to chuckle, inducing another wave of pain. He nicknamed me Theo, short for Theodosia. Kinda always had a crush on him since that day 3 years ago. He knows that I’m more private, so he’s stuck playing nurse. “There are worse things than patching up a bullet wound you know,” he says as if reading my thoughts. “Like what? Having fun fighting?” I groan again as he pulls away the layers of clothes. He pauses for a second. “I’m going to roll your tank top, but it’s probably going to hurt. If the blood has started to dry yet, the wound will reopen. I nod and grit my teeth. He pulls up my tank top along with some dry blood. I gasp loudly and he grimaces. “Hey, at least it was just a graze.” “Shut up. You’re going to make me laugh and that hurts.” He smiles. “Okay I have some alcohol and that will work. Just don’t focus on it.” “Yeah, that made me pass out!” I say, closing my eyes. But he was already pouring it. I didn’t have time to think about something else before it started stinging. Until I felt lips on mine. I opened my eyes to him kissing me and my brain almost exploded. He pulled me closer to him, deepening the kiss. I loosely wrapped my arms around him. His rough hands slid up my back and helped support me upright. Cautiously moved my hands up to his face, and eventually his hair. My fingers tangled in until I couldn’t breathe anymore and broke the kiss. I could barely feel the gunshot now.

I’m writing a story, too. I’ve just posted the scene I’m writing and you guys have really helped me write it. I’m so grateful…thank you! your’e guys’s scenes are so great.

This is my story, and basically this girl is having her first kiss in the forest with her boyfriend.

My heart skips a beat and my knees get wobbly. I wasn’t standing up, so I couldn’t fall, but I’m sure I would if I was standing. I curl my hand around his neck, and the other one in his soft, curly hair. I open up and kiss him back, but I’m not quite sure if I’m doing it right. I close my eyes when it happens but secretly open one to see if he’s staring at me. His eyes are closed, too. I feel his cold hand touch my back and pull me a little closer. Shivers run down my spine. I feel my heart racing and my stomach jumps repeatedly. I’m pretty sure I just opened my mouth too wide. His warm breath on my face feels inviting. I can’t put in words how this kiss really feels. It’s like I’m floating, drifting away, and I feel happy…ready for this to end, but not just yet. I know it can’t work out with Caylen. I just want to cherish this one moment. We go on for a while…

What was that? Oh, he stopped. I make an uneasy face. When he smiles hopefully, I make a satisfied face. Caylen stands me up, walks me to my house, and gives me a kiss on the cheek before I excitedly run off to tell Emeline about the romantic adventure I had this afternoon.

Sorry, my story didin’t get posted. its unnaproved or something. but philo’s story is really good! amazing.

Wow. The talent you guys have is mind-blowing! I decided to write a bit of a kissing scene. So ya.

“What are you doing?”, hissed Noah, shutting the door behind them, his mind racing. “You weren’t there yesterday”, Kieran breathed, his eyes looking unearthly in the moonlight, “I wanted to see you”. Before he could reply, Kieran kissed him with such force that he was slammed against the wall. Noah didn’t resist, couldn’t resist, even as Kieran’s knee slipped in between his legs, parting them. The sweet smell of the boy he loved filled his nostrils, the scent calming his troubled mind, clearing it of all thoughts. Noah dragged him onto the bed, and they fell into each other, Kieran’s lips against his, tasting like peppermint and coffee and spices all rolled into one. Kieran paused to take his shirt off, and Noah shivered as he realised how broad his shoulders were. The shape of him, Kieran, took his breath away. And he wanted him all the more for it.

What do you think? It is only a snippet, but I think that it illustrates the characters’ relationship nicely. This is a great site. I HIGHLY recommend ‘Jane Eyre’. It rocks.

This is my character’s first kiss, it’s near the end of the book, so, some of the stuff they talk about might not make sense. This book is aimed at teens-preteens, so…let me know if you think this scene is ok for that age group. Well, here’s the kiss: “Hey!” Brook jumped, looking away from where she’d been watching Paleface and her foal Opal grooming each at the other side of the round pen. Dean was walking towards her. “Hey,” Brook replied, leaning slightly against the rails. “Um, it’s a lovely sunset, isn’t it?” Brook waved a hand around them, the farm and bushland around it was bathed in golden light. “Yes. Just beautiful.” Dean said. Brook was too busy gazing at the warm glow the setting sun left of the land and thinking about the wonderful sunset photos she’d gotten in her two week stay to notice Dean was looking at her. “How’s your arm?” Dean asked, pointing at her left arm, which was strapped in a sling. “Fine, it doesn’t hurt anymore unless I bump it or jar it, which I’m getting a little better at avoiding.” Brook said. She remembered the horrible pain when her arm had broken the evening before. “Jackson’s a real jerk doing that.” Dean said. ” But, you did really well, you were so brave.” He moved a little closer, laying his hand on Brook’s. “Thanks. In truth, I was terrified, but I knew I couldn’t just let him do that, I had to save Paleface and Opal.” “Does your arm hurt if I touch it?” Dean asked, reaching out and running his hand from her shoulder down to her wrist. “No,” Brook said. Dean stepped closer and put his arms around Brook, she buried her face in his shirt, there was something so comforting about Dean. He slipped a hand under her chin, raising her face. Brook gazed up at him, she noticed how gently he held her so he didn’t hurt her arm, and his smile, then he slightly titled his head, Brook did the same, in the other direction. Then she shut her eyes. Dean’s lips brushed softly against hers, she felt their lips lock, his breath soft on her cheek. She could stay like this forever. Then Dean pulled back gently and released her. “You…you kissed me?” Brook gasped. “Yes, I thought it would be okay…I’m sorry.” Dean looked flustered. “No, it’s fine, I was just surprised.” “I’ll really miss you when you leave tomorrow.” Dean whispered before turning and hurrying back to the house, leaving Brook gazing after him, unsure what to do next, or what would even happen next.

That’s it. What do you think? There is a lot of talking not much kissing, but, yeah…it is for younger readers. I’m not into all the “gaping maw” and stuff of one of the examples. I nearly puked when I read that. Anyway, Dean and Brook have known each for two weeks and been through a lot together (they’re teenagers, not adults, btw) and they have flirted a little but not anything serious. I’m thinking this will be a series and they may kiss again, but similar sort of kisses to the one I’m sending.

I think your kiss is great!

Okay, so I know I’m pretty late here, but here’s a scene from the novel I’m writing. I’ve never kissed anyone, so I was looking for some feedback. It’s a flashback of a time that the two main characters, Levi and Callisto, kissed. It’s told from Callisto’s perspective, and for a bit of background, they have been friends since they were seven. They had a falling out when they were thirteen, but the year before that is when the flashback takes place. In the current year (When L+C are 16) Callisto’s older sister, Emmeline, is getting married, so Callisto is kind of thinking about romance and the only time she’s kissed someone (which was Levi). So yeah, here it is:

I kissed Levi, once. It was about a year before the fight, back when Emmie had been dating Tristan for just a little while. We were sitting together on a set of concrete steps, near where we had first met. We weren’t really doing much, just sitting around, talking, enjoying one-another’s company. Or at least, I was enjoying his. I think he enjoyed my company, too, but I couldn’t quite tell. It was always hard to tell with Levi. “Has Henry ever kissed anyone?” I asked Levi. Henry was the same age as Emmie, so I figured he might have. Levi wrinkled his nose. “No.” He said it simply and matter-of-factually, like that was the end of the conversation. “Oh. Emmie has a boyfriend, now. His name is Tristan. He’s okay, but he and Emmie spend a lot of time kissing.” “That’s disgusting,” Levi said, shaking his head slightly, like he was disappointed that my sister would participate in such vulgar activity. For a moment, his face screwed up in thought, “No, Henry hasn’t kissed anyone.” He sounded as though he was trying to convince himself. “Have you ever kissed someone?” I asked. It seemed like the next question in what I thought was a rather logical train of thought. If it was possible, he looked even more disgusted. “No.” “Oh,” we were both quiet, for a minute, then I asked, “Do you want to try?” He looked confused. “Try what?” “Kissing.” He turned a little green. “No.” We were both quiet for another minute. I noticed he seemed unsure. Then, he seemed to be considering it. “Okay, maybe we should try it,” he resolved, speaking slowly and methodically, as though Congress had just reached the biggest decision of the century. “Great!” I exclaimed. I was excited to try it. Emmie sure seemed to like it. I leaned in towards him, but he pulled away. “Wait!” He yelped, “I don’t know how! I’ve never seen anyone kiss before.” That thought hadn’t occurred to me. “Never? Not even your parents?” He shook his head, his cheeks flushed pink. “Well, that’s okay, I’ll show you. I’ve seen Emmie do it, and Mama and Papa, too.” I leaned in again, and this time, he only shrunk back slightly. I put my hands on his shoulders. “There. And you put your hands on my waist.” He did what I said, looking immensely uncomfortable. “What now?” “Now, we close our eyes.” He squeezed his eyes shut, and I did the same. I leaned in slowly towards him. I opened my eyes slightly, to make sure he hadn’t leaned away. When our lips touched, he shrunk back a little, but we stayed like that for a minute, and he seemed to be more comfortable. Maybe it wasn’t a real kiss. Maybe we weren’t boyfriend and girlfriend like Tristan and Emmie, and maybe we never would be, but I felt a lot closer to him in that moment. I felt my heartbeat quicken and smelled the missing half of the butterscotch pudding I’d shared with him earlier. Then, the moment had passed, and we leaned away from each other. I was smiling, but he looked confused. “That was it?” he asked. “Did you like it?” He shrugged. “I don’t get what the big deal is.” That was when I realized that maybe he hadn’t felt it. Maybe he hadn’t felt the closeness, hadn’t felt his heartbeat quicken, or smelled the butterscotch on my breath. “Do you wanna do it again?” I asked. He shook his head. “No.” No, never again.

So yeah, it wasn’t much, just an innocent two-kids-kissing scene, but I’d still like feedback if anyone happens to read this. And I do have other stories where there will probably be more romance than this one, but I really don’t have much experience with writing kissing scenes (or kissing) so I thought this would be a good place to start. Anyway, let me know what you think of the scene!

Hey Katie, your story rocks. That’s all I have to say. You write like a pro. Have any tips for aspiring young writers?

Also, I like the way your character has a lot of personality. It really brings the story together and makes it more relatable. The comment about the butterscotch pudding is spot on, because it brings back the fact that they’re only twelve and still trying things out. This is my interpretation of the story; Levi is a mysterious and (possibly?) mildly autistic character. I say this because I’ve written and read about people like him, but it’s hard to know without context. Callisto is a slightly insecure, intelligent (but she doesn’t know it) and loving young girl in the story. My impression is that she is possibly now hardened by life and that she was hit with it in one big explosion of self-realisation. Possibly her fight with Levi? It she a soldier or someone who was exposed to a high level of experience all at once? Because that would make a lot of sense. If not, what is her story? It seems like it would be a really interesting one. Anyway, sorry about all this, but I couldn’t help myself. You’re writing like an experienced adult. Are you?

Okay, so basically, this is mine. So Jenny and Caylen travel to this magical world, and theres akwardness between them, but soon, Theres this war and stuff. (I’m not gonna get into the details.) But they both might die, so Caylen just goes for it. Although it’s told in Caylen’s perspective. Um…lemme know for comments and stuff. Hope u like it. today is my birthday anyway.

I stare deep into his hazel eyes. Did he feel the same way about me? As I did him? The truth is, I love him. He’s sweet, and kind…gentle, brave, handsome, funny, and he’s just…amazing. As he leaned closer, and closed his eyelids, I stared at him. Was he going to kiss me? He likes…me? Out of all the girls he could choose from. His lips get closer to mine, and I lean forward.

Our lips touched, and I somehow knew, from the moment, that he felt the same way. Time stopped and no one else existed but Caylen. My lips parted, and I kissed him. It was soft, at first. His lips brushed mine delicately, like butterfly wings. Then he pressed his lips on mine, a little harder, then he stopped, unsure. He kissed me again, and each time, I felt the excitement, and craving, of the kiss.

Lightning passed through me, and I felt lost, in a different universe, slowly flying away. I finally shut my eyes and really kiss him back. I curl my fingers into his brown, curly hair, the other around his neck. My heart beats fast, and my knees wobble. His cold hand creeps from my neck to my back, and he pulls me closer, deepening the kiss. A shiver runs down my spine as his other hand tangles in my hair. His delicate, innocent kiss, makes my heart flutter, and wiggle. Then my heart races, and my stomach jumps repeatedly, as his lips press against mine again. I breathe through my nose, so I don’t run out of breath. I let him kiss me as long as he wants. I let go, but then go back, and kiss him softly, determinedly, sweat dripping down my face.

No, you can’t. You have a war to fight.

I tell my conscience to let me cherish this moment. I curl both my arms on his neck, and put my hands together. I then get uncomfortable and put both on his shoulders. He stops kissing me, and I wonder if I moved too much.

“I…I can’t, I’m not sure if I..” I start, then trail off. I look away as I say it.

“I am sure,” Caylen says.

“Of…Of what?” I ask, worriedly.

“Of one thing..” He puts his arms on my shoulders, and he looks determined. “I…I love you, Jenny. You’re just…just awesome.”

I stare deep into his eyes again, until I kiss him again. This time it’s one peck, and we put our foreheads together and stare at the ground. I pant, until I look up at him and make an uneasy face. I ran out of breath. He picks me up, and I wrap my legs around his torso. I kiss his lips repeatedly, and then I stare down at him. He’s happy. That’s all I want right now. I kiss him another time, and then tell him,

“I have to go, I have to fight,” I say. I hold his hand and we walk to the battlefield.

Across the plain, I see Quests, Icicle people, Cavemen, dragons, bears, everyone fighting, with scratches, blood, and pain everywhere. There is a mixture of yells, screams, yelps for help. One person punches another, as somebody slices a sword through one. A bear with long claws slices a cavemens face. I worriedly look around for my mom, and Emeline, but I notice Rachel on top of a tree, hitting a caveman in the head, then kicking his balls, yelling in achievment. I start to run out to fight too, but I stop. I turn around.

“I love you too, Caylen.”

Thats it. You probably don’t understand, since it’s pert of the story, but you know. The kiss is the best part. Hppy late valentines day, now that I think about it. Thanks for your ideas, comment if u like it

This last one is told in Jenny’s perspective. I was thinking about the wrong thing. It’s a boy and a girl. And they’re not…you know, gay. So…yes

Ruby’s is really good. I never kissed anyone. before and it made me feel like i was actually there. and I like katie’s too, it feels like the kids are a little younger, and it wasn’t very….in the book, but it was a very good. scene. Very. I am an experienced writer, but I’m not THAT good.

I know this is super late, but This is from a fantasy story I am writing about crossover souls (fairies mixed with humans). Isaac and Nyx are on the way to the hospital under a white lie because Nyx doesn’t want to expose her position (who she is) and Isaac just been possessed in the pier bookshop.

As we wound round the different streets we had been to at some point or had no idea of, towards the hospital, the summer sun high in the late afternoon sky, I took his hand stroking it softly. Then as if were the opposite poles of a magnet we leaned in our faces touching. I could smell the sweat of the day’s memory on him, but I didn’t care. I could smell the off brand washing powder his mother used, but I didn’t care. All I cared about was his warmth against mine, to feel his wind chapped lips on mine. It was the sweetest few seconds, before he pulled back.

‘I’m sorry, I…’ he continued to contemplate a stray cat for a few minutes before moving on to the seemingly mundane green bushes of number 12. He was doing his best to avoid the awkwardness of looking in to my eyes. There was an awkward silence between us where the seconds, felt like hours. In that silence I contemplated the moss grown crack in the pavement and the smell of dogs breath that clung to the sea air. Then I spoke, I said what I knew he felt.

‘It was long overdue’, I pulled his face to look at mine, our lips meeting once again. We kissed in quicks succession under the dabbled light of the plane tree. It was as we were drowning in the elixir of love, stopping only to inhale the cold sharp air of the sea.

‘I love you’ he spoke with such sincerity it almost took me by surprise.

‘I love you too’ I said our hands interlocking

‘Well maybe that’s enough medicine…’ I cut across him

‘You’re still going to the hospital and don’t you dare try to wriggle out of it’ I said in a mock stern voice.

he chuckled ‘That’s why I love you’

I have never kissed (romanticly ) anyone before, so it would be good to get feedback on the start of this scene. sorry if there are any spelling or gramHe chuckledmar mistakes. I guess because I am 15, it is sort of like teen fiction. But I haven’t really put it in any age box because they are not always correct or need.

OK, so I know I’m a little (a lot ) late but I just want to say, Katie, your kissing scene was phenomenal. You write like a pro. I was here earlier, so here is my scene revised.

“What are you doing?”, breathed Noah, shutting the door behind them, his mind racing. “You weren’t there yesterday”, Kieran whispered, his eyes unearthly, the sharp edges of his jawline highlighted by the moonlight from the window. “Why didn’t you meet me?”, he whispered, as he forced his knee between Noah’s legs, parting them. “What were you doing that was so much more important?” Noah thought of the day before, of Livia, of Alex. The whirlwind of events. The memories. He had forgotten all about Kieran. Before he could reply, Kieran kissed him with such force that he was slammed against the wall. Noah didn’t resist, couldn’t resist. The sweet smell of the boy he loved filled his nostrils, the scent calming his troubled mind, clearing it of all thoughts. He didn’t have time to think. Noah dragged him onto the bed, and they fell into each other, Kieran’s lips against his, tasting like peppermint and coffee and spices all rolled into one. All too soon, Kieran tore himself away and Noah could see how hard it was for him, like he was starving and he was putting aside the only piece of food he had. Noah shivered, breathless, as he realised how broad Kieran’s shoulders were. It was late and the exhaustion in Noah’s eyes must have begun to show because the other boy lay down beside him and whispered in his ear, “Shh, go to sleep”. Noah closed his eyes. And he had no nightmares.

Sorry, I forgot to explain. Before this scene, Noah is friends with Alex (a girl) who likes him and he is wondering how he can tell her that he doesn’t back. But what he doesn’t know is that she has already seen Kieran and him together. Noah usually has nightmares because he was in a war with Alex(that was when they met). Noah and Kieran break up later on but it seems sad to talk about that now when their relationship is gong so well. As far as you know….. obviously that isn’t the whole plot of the story, but the rest of it is demons and death and betrayal and blood and I’m sure you don’t want to hear any of that 0.o

Sorry if there are any spelling or grammar mistakes, and I know it’s late but I wanted to test out and see if this would work as a kiss that never happened or should have.

Maybe If they had been older and not seemed like brother and sister, this is when they would have kissed. I would be telling you about the warmth of his lips, about the pimple on the left side of his nose, the smell of conditioner and the way the seconds felt like hours . I would try to imagine, what it felt like to be lost in someone’s breath, but then I wonder if maybe all  they would find would be an awkward silence. So in some ways I’m happy it never happened , at least not now. I’m  happy he only whispered ‘I love you’ before he  disappeared in to the silent street  lit only by the orange sodium lamps, until they merged into the bright white LED light, that the council have started putting up. All along his words felt right because kissing might have ruined the bubble they had created. But they had never asked each other if they wanted  the bubble to burst.  He had never asked her if she wanted to find his heart beating on her Brest and his lips making lasting memories . Maybe all along she had needed to find the courage to ask him herself because it seemed they each in turn had felt there was no path to ponder on.

They had all-ways just excepted it wasn’t to be.

That is really cool, Iris! I love the way you describe the kiss how it would have been and how all the little details come together. Love. Just, love it.

Out of a sudden impulse of mine I moved my head right next to his while we were laying down and I kissed him. It was like a simple peck, in which he flinched and moved back. I got up swiftly and said in a panicky voice “Oh no I shouldn’t have done that, I-I’m sorry.” He got up and stared into my eyes intensely before grabbing my waist, pulling me in and pressing his firm lips against mine. In that moment it was like the world was still. It was just us against the world. The kiss became more intense as he started using his tongue as if claiming me he started moving his hand down to my lower back and continuing down. I felt as if this was right. He was the one, no doubt about it. I needed him; It didn’t matter if I chose him or Urca in that moment because it was just us. Us in this moment. We were the moment. I felt as though I would never need to come back up for air. I would drown in the deep unable to breathe for this kiss.

“We were the moment”. Love it.

woah this is truly amazin , every one of you have written so well, have put in you’re whole heart to it .I’m so happy as well as proud of y’all , kudos !! so I my writing is published on the platform Wattpad under the username : cursedsunshine. All my three books were well published last year , got so much hype but unfortunately someone hacked my account and I lost everything , but I didn’t stop there , writing gives me the freedom like no other .Hence I decided to go from the dust , it would mean a lot to me , if you are able to check out my story on Wattpad, thank you !

Just a side note, I have never kissed anyone or anything and this is my attempt at a kiss scene.

His breath is hot on my neck and I can feel a bulge pressed on my lower back. “What do you want me to do?” He whispers in my ear. Tingles shoot through my body from hearing those words.

“I want you to show me you love me,” I say breathily. 

His hands snake around my lower back to my stomach slightly pulling me closer. Soft kisses trail up my neck as he turns me around planting a passionate kiss on my lips. 

Our lips move in unison changing from passionate to fiery lust. My hands touch his face bringing him closer to me deepening the kiss. He pulls away breathing heavily looking into my eyes. 

“Let’s go to the bedroom.” He says with a husky voice.

In one smooth sweep, I am carried into the air. We share teasing kisses as he walks slowly to the room. Sitting on the bed I straddle him, he grins before flipping me over with him on top. With a look in his eyes for approval, I nod. He kisses from my neck to between my breasts to my stomach then stops to look at me. He kisses lower and lower teasing my hot skin before opening my legs…

*BEEP* *BEEP* *BEEP*

My hand shoots up to turn off the alarm on my phone while a loud groan escapes my mouth. God, my alarm couldn’t have waited a few more minutes. Nick hasn’t been on my mind for a while, that was a nice dream that I wish continued. I open one eye at a time adjusting to my bright room, curtains are next on the list of things to buy. With a stretch, I push my covers off and sit to get out of bed. If you are interested in reading the rest of the story, here is the link to it: https://booknet.com/en/book/outstanding-b144301 The story is free to read. 😛

I just recently turned 15 and I’m curious as to what different skill paths I should take to better my schooling and personal life. I’m not very confident in my writing skill, personally I think I’m not that good and what I write is a bit choppy, if I could get some feedback I’d be really appreciative (AKA I crave validation so feed me peasants). Also I changed the names of people so I don’t get killed. Tyler and Brandon it is.

“Never Tyler. Never ever. You’re amazing, and so strong. You hold all this pain in and still get up each day and push forward. I’m so inspired by you and how you are able to hold your head up from the water and get through each and every minute. You’re incredible, truely. I wish I had been there earlier, maybe then I could have helped you through everything thing you’ve been through, and I’m sorry that I wasn’t. But I’m here now and i’m not letting you go, even if you scream and push me away, I need you to know that I’ll always be here. I want to see you happy. I want to make you as happy as you make me and Ty… you make me really, really happy.” Brandon smiled, grip tightening around Tyler’s neck as he stared into the taller boy’s eyes.

Tyler’s brain short-circuited as he started into the pale blue of Brandon’s eyes, watching as the boy’s eyes shifted towards his own, pupils growing and flush rising up his cheeks. He slowly lifted his hand so it was resting on the side of Brandon’s jaw, rubbing his cheek delicately as the world around them slowed, freezing until it was just the two of them. Nothing else mattered in that moment as they stared into each other’s souls, their hearts. No words were spoken and yet, everything had been said. If any moment in his life had anchored his soul, Tyler was sure it would be this very second, gazing into the innocent and yet so devious eyes of the boy before him. He could all but feel his heart crumbling and falling into the hands of the other, every thought, every emotion that ran through his mind like a plague was now in the hands of the only person he would ever expect them to fall into. Because of course, who else to let himself be vulnerable with then this boy? How could he not trust him with his whole being? Tyler glanced down, watching as the boy licked his lips subconsciously. Raising his gaze once again he looked to Brandon for permission, letting out a harsh breath, he questioned. 

“Angel, if it’s okay with you, I’d really like to kiss you right now. May I?” The brunette spoke, tongue darting out over his own lips in anticipation as he sat, one hand on Brandon’s cheek and the other resting softly against his hip. “Please Ty.” The boy all but whispered in return, gripping slightly higher at Tyler’s hair from under the taller boy’s beanie. Tyler smiled slightly at the feeling of it, leaning in to let his lips just barely graze the other boy’s.

It was Brandon that closed the gap between them, fingers locking into place in Tyler’s hair as he pushed his lips against the older boy’s. Tyler felt like an addict, Brandon slowly becoming his drug. The smaller’s lips just felt so soft and plush against his own cracked and dry ones, creating a contrast that Tyler never expected to feel, but now that he had gotten a taste, he couldn’t get enough of it. In one swift movement the two of them became one, they clung to each other as if they were the only other thing in this world, and in a way, Tyler supposed they were. Brandon gripped him tighter, pulled him closer like he was the only solid being in a spinning world and Tyler in turn, let both his hands fall over the younger’s curves and onto the dancer’s waist, fearing that one wrong move would leave everything around them shattering to pieces. Both the boy’s took their time, holding onto one another and allowing themselves to fall into a rhythm. Breathing the other in like they had been deprived of air their whole lives, it was sweet, it was soft, and it was their’s. Their moment to forever hold and cherish. Their’s to dream of and smile at. Tyler felt as though nothing could ruin this. This was special, a moment that he would forever hold close to his heart. Just him and Brandon.

Late as all hell, and while I’ve been kissed, I haven’t done it enough to capture it well. I’m also writing this from a man’s perspective, instead of a woman’s, so I worry I’m doing it wrong…if there’s feedback, that would be lovely! Otherwise, feel free to make fun of my shoddy work, haha! (Please note, this is a fantasy/sci-fi narrative, with a mention of a fictional language in it!)

Could he tell her? Yes, he could. Should he was perhaps the question he was asking. His mind floundered for a single, logical thought. Find the pros and cons, weigh the outcomes, that was what he was supposed to be doing, but his brain had faded into a sluggish mush. He could recognize nothing but her hair, dotted with tiny jeweled snowflakes; her eyes, that held far too much softness for someone who was so unpredictable; her hands, trembling against his face.

Thantil took them, folding them within his. Her skin remained soft, even in the cold. He had seen how other’s hands had cracked, the flesh scuffed like rocks. Hers did not feel that way. It made him wonder, not for the first time, if she held some sort of magic within her. Surely she did. She had enchanted him in a way he had never thought possible.

He held her gaze, waiting for her to say no. It never came. Not when he pulled her closer to him. Not when he lifted her hands. Not even when his lips brushed over her knuckles. He watched her eyes close, her lips part –

“Nor ver ch’ah, vah bta rect’tin’ecot,” she mumbled.

Just kiss me.

He let go of her hands, yanked her forward, and did just that. Damn feeling, damn passion, it damned him to the thousandth depth of hell as yet another piece of the man he was meant to be crumbled into the vast ocean that was her.

Wow! All of your scenes are amazing! You are all really talented! Here’s one that’s a part of the novel I’m writing. But before that, I guess I should give some background. Basically, the story’s about the best track & field team in the state. Two of the best runners – Asa and Whitney – are pretty good at annoying the hell out of each other, but they’ve always kinda liked eachother. During an away meet against their team’s rival school, Whitney hides in the bathrooms for a couple minutes to get away from Asa, but he’s sent to look for her. They end up talking a couple things out and eventually kissing – and Whitney misses her event. Then Joseph, their coach, walks in on them Despite the trouble they’re already in…well, I mean, I’m not gonna spoil anything, so here’s the scene:

*CVHS = cade valley high school, that’s the team*

Surprisingly, we weren’t banned from sitting together on the bus. Joseph was at the very front, and instead of my usual seat with Laurel and Ashlyn, I sat in the very back with Asa. Luckily, I had the window seat. His arms were wrapped around me and I was holding both of his hands, a position I never expected to feel so comfortable. I looked up at him and we both smiled – just a little. I put my head on his shoulder and glanced out the window from the corner of my eye. I watched as we passed cars and trucks and houses, nothing I’d never seen. As soon as we pulled into CVHS, Asa and I got off the bus along with everyone else. But instead of walking me to my own car, he pulled me to his. Still wrapped up in each other, we slid into the backseat, and before we could bother to close the door, his mouth was on mine. It was dark outside, so it was likely that people could see us due to the lights that turned on in Asa’s car. But it didn’t matter, nothing mattered. Soon, he was on top of me and I was sinking into the leather car seats. I didn’t know where Joseph was or if he’d yell at us, but neither of us seemed to care. For a moment, Asa pulled away and muttered; “God, why did I wait so long to do this?” I wrapped my arms around his neck and pulled him back down to me. We pressed our foreheads together and I whispered “I don’t know” softly. I pressed my lips against his and ran my fingers through his thick hair. He lightly brushed his finger across my cheek, sending a tremor through my body. I didn’t care what the first or next person to see us thought, so what if I was kind of, sort of, definitely kissing my sarcastic and admittedly hot ex-enemy? Our lips separated and Asa got off of me, giving me room to sit up. I glanced at him, only to find that he was staring at me, smiling. “What?” I asked. “All this time spent annoying the shit out of you and I never took the time to notice that you’re really pretty,” he answered. I laughed weakly. I wanted to say I never thought you were capable of making me feel this way, but instead, I managed a quiet “thanks.” “I- th-this is crazy, I-I-I never thought-” he shook his head. “Never mind.” I’d never heard Asa stutter before. I laughed softly and kissed his lips. When I pulled away, he slid out of the open car and I followed. Then, in one swift motion, he pushed me against the side of the car and kissed me harder than the last time. Much harder. From there, everything went from affectionate to aggressive. Passionate to something more than lustful. Sweet and harmless to addicting and intoxicating. We were under some sort of trance, and I couldn’t breathe. Then, right there in the school parking lot, he pulled off his sweatshirt and then his jersey, tossing them both into the open car. It probably wasn’t the best idea to get this intimate considering our current location, but I was too caught up in the pleasurable pain Asa was inflicting on me. I felt like I could barely keep my footing, and if it weren’t for his grip on me, I’d be on the ground by now. He made his way down to my neck, placing rough kisses as he went. Breathing heavily, I felt his boner that I somehow hadn’t noticed digging into my leg, which only aroused me further. I lightly ran my thumb over his rough lips, and that made him grab my wrists and kiss me again. Suddenly, he let go of me and tugged at my jersey. Again, my mind went straight to the fact that we were in the school parking lot and anyone could be watching, but I removed it anyway. Asa closed every inch of space between us by wrapping his muscular arms around me and kissing me with an open mouth. We were skin-to-skin, and it felt good. Asa slid his hand into my bra, and for some reason I let him. We both slipped our tongues into each other’s mouths, and when they touched, it made me tingle all over. He tasted like spearmint gum and the red Gatorade I’d seen him drinking during the 4×4 relay. It wasn’t the best combination, but I still wanted more. I hoped I tasted alright. After all, I’d pounded popcorn and Kit-Kats after Joseph told me I wouldn’t be running my next event. Speak of the devil, Joseph’s car rolled right past us. I wouldn’t have noticed if it weren’t for him shouting, “What the hell? Asa, put a shirt on! Who’s that – Whitney? Wait, come on. Seriously, you two?” Both of us turned and stared in shock like a deer in headlights. “Honestly. Again? I JUST talked to you about this. Not okay.” Joseph shouted. “If you can’t keep your hands off each other, I’m going to have to separate you and kick one of you off the team. Or both of you. I don’t care.” “I- Joseph, Asa is one of our fastest runners.” I managed. “You can’t kick him off the team.” “You can’t kick Whitney off either. If we’re going to win fucking state again this year, then you’ll need both of us.” Asa added. Joseph shrugged. “We have others. And watch your language, Byers. AND I believe I told you to put a shirt on. You too, Whitney.” I picked my jersey up off the ground and slipped it over my head while Asa pulled his sweatshirt out of the car. “Are you happy now?” Asa snapped. “Watch your tone,” I warned him in a whisper. “We’re already at risk of being kicked off.” Asa shook his head. “See you at practice, Joseph,” he groaned, and started to walk away. “Nice try,” Joseph stopped him, “I’m suspending you from the team. Either you or Whitney.”

So there we go. It was obviously a little more than they both expected, but it turned out badly again. What do you guys think?

Okay, so it’s not exactly the ✨big kiss✨ but it’s the first kiss that doesn’t count, if you will. But it triggers a lot of contemplation later in the story.

I stood, hands on the rails of the fence, waiting for him. He’d told me over text he had a note to deliver to me. Why he couldn’t just text me the contents of the note, I wasn’t sure. Eventually, I felt a tap on my shoulder. “It’s me.” I easily recognized Aiden’s voice. My eyes traveled to his hand, balled up into a fist. The note. I expected him to hand it to me, but he didn’t. He grabbed my shoulder, pulled me up to him, and pressed his lips against mine. I knew it was just a coverup. Something to hide the exchange. I could tell by his hand slipping into my back pocket, shoving the crumpled note in there. It was only a coverup. But out of all the coverups, he kissed me. But then, he pulled away and slowly removed his hand from my pocket, careful not to make the note visible to the public. Aiden gave me a small nod as he walked away and I did the same, but walked in the opposite direction. The whole way down the trail, the note burned a hole in my pocket and the thought of our kiss burned a hole in my head. I told myself it didn’t count as a kiss, not a meaningful one. The kiss didn’t count. And that was the way it would be.

SoOoOoOo…whatcha think?

I have been writing Christian stories since I learned the alphabet. This is an excerpt from an old story I dug up when going through my computer. I was young, so not sure if this is any good, but let me know! Back story: The girl, (Corsorvia Blanche, AKA Page) and her crush who hasn’t spoken to her in months (Job Morgan) have been magically transported to the world of Obathia to help the creatures of the 7 Realms be freed from the eternal winter. Page thinks it’s just for them, but in reality, it’s drawing her closer to Elohim…and to Job. In this scene, they just escaped near death from Cloakers (tractor-sized wolves) and are continuing on their way through the barren, frigid wasteland of Obathia. The title of the book is ‘Edge of Obathia’ so this is the very last page and a half of the book. Everything inside of the *stars* is Elohim speaking to Page’s heart and mind, calming her fears. Anything in caps is what her fear is telling her. Let me know your thoughts, thanks! God bless!

“Do you remember snow days in England?” I laughed. “We would be so excited each morning it would snow, and the night before we would be fervently praying for snow. Now…oh well, now all that excitement is bloody gone.” “Ah, yes.” Job sighed. “This trip has certainly changed many things for us.” I smiled as I thought of the serene calm flowing through me. Yes, I knew there’d be danger ahead. Yes, I knew there’d be peril. But I was not afraid. I had the love of Elohim in me. *The Lord is your light and salvation—so why should you be afraid? The Lord is your fortress, protecting you from danger, so why should you tremble? I have loved you and protected you all the way, Corsorvia. I will love you and protect you the rest of the way, too.* I heard the small voice in my mind, never anything but a peaceful whisper. Meanwhile, the voice of fear always shouted in my mind. I CAN’T DO THIS. CLOAKERS WILL ATTACK ME, OR I’LL FALL IN ANOTHER LAKE AND SURELY DROWN THIS TIME! I CAN’T DO THIS! I CAN’T DO THIS!!! Still the whispering voice came like a soothing blanket. *Behold, I have given you authority to tread on serpents and scorpions, and over all the power of the enemy, and nothing shall hurt you. Do not fear them, for the Lord your God is the one fighting for you. The Lord will cause your enemies who rise against you to be defeated before you. They shall come out against you one way and flee before you seven ways. Do not be afraid or discouraged because of this vast army. For the battle is not yours, but mine. Lay your burdens down with me! and I will take care of you. I will not permit the godly to slip and fall.* Tears came to my eyes as I answered Job quietly, “Yes. Yes they have.” He slipped his hand into mine and squeezed it. He knew what I was hearing. He had heard it many times, too. “What has changed for you?” I asked him, swiping at my eyes. He let out a heavy breath. “I’ve only just begun to see the way Elohim sees; even though I took this journey years upon years ago.” He seemed to pause before adding, “I’ve also realized that those I love are always closest to me, no matter where I am.” This stopped all the voices I was hearing and almost stopped me. I tried not to hope for what that meant, but what could I do to help it? I kept walking, and tripped over nothing. “Woah!” He said, leaning over and offering me his hand. “Are you alright?” My face went red. “Yes.” I helped myself up, brushing snow off my parka. “Not sure what caused that.” Job grinned, raising an eyebrow. “I might.” I set my hands on my hips and glared at him. “You wish.” “I won’t deny it.” His answer caught me off guard and I tried not to show it. “Let’s not get cheeky.” “You say cheeky, I say honest.” The look on his face was sincere. I could only hope my own expression portrayed calm. My heart was beating wildly fast. “Ellie May interrupted me, and I intend to finish what I started.” He took a step closer. My mouth fell slightly open as I whispered his name. I didn’t get to finish my sentence before his strong hands were gently holding my neck, his lips pressed against mine. We were kissing. I was kissing Job. JOB was kissing ME. I had wanted to for years. It felt perfect, as if we were made for this moment. The moment his lips touched mine, my brain very nearly exploded and the air was smashed out of my lungs. My knees were weak and my hands trembled. All my senses seemed elevated, but I could barely think. To stop my hands from trembling, I slid them up his head and tangled my fingers in his long hair. He slid his foot forward just half a step, tilting his head. I took in a shaky breath through my nose and leaned into him. He assaulted my senses; the taste and smell of him closer to me than ever before left me wanting more and more. His caress on my neck was gentle but his kisses were rough and unapologetic, showing he had wanted this for a while. And so had I. My knees were about to give and I clung to him for dear life. Sheer delight shot through me as his hands glided down my body to the small of my back, then to my hips, sending shivers down my spine. The world (if there was one, because it seemed like only he and I existed as we stood there kissing for what felt like an eternity) was spinning around me like the tumbling cycle on a dryer. But his strong arms wrapped around my waist and held me tightly. I knew he wouldn’t let me fall. I nodded my head, deepening the kiss, showing him how much I needed him. He responded with a soft groan at the back of his throat. He drew me closer. Minutes later, he slowly pulled away as the sound of rushing water suddenly became known to us. I had been so caught up in the kiss I hadn’t heard the roar of the waterfall we both turned to look at. I held him a little tighter, staring at the monstrous outpour of icy water. “J-job…” I whispered. For some reason, it felt dangerous to speak at normal volume. “Where are we?” He looked at the waterfall like it was much more than it was. He replied in the same soft tone I had used. “We made it to our first benchmark, Page.” He swallowed. “We’ve reached the edge of Obathia.”

I’m a young writer and I’ve never been kissed. This is my first attempt at writing a kissing scene and I wanted to know what some other people think that aren’t my friends lol

I slowly walked to the doors and placed my sweaty palm on the doorknob, turned it, and pulled it open aggressively. When it swung open I saw Flynn standing there with his hand up like he was about to knock. We stared at each other for what seemed like hours. Neither one of us was sure what to say. He came in and closed the door behind him, slowly. I noticed him taking turns between looking me in the eyes and looking at my lips. “Hi-” I started to say something but when I blinked something made contact with my lips. I opened my eyes wide and saw Flynn, his eyes closed and relaxed like we were a married couple that has been doing this for years. All at once, it was like I was feeling, tasting, and seeing every color of the rainbow at the same time. My heart skipped a beat, and my hands got hot and sweaty. My emotions were so tangled, no comb could straighten them. He wrapped his strong arms around my waist and rested them on my hips. The kiss had enough power to force Flynn’s back up against the closed door. We stood with our bodies forced together against it as our lips were pressed into one. He pulled away from me and I stood with my hands relaxing on his chest. I stared into his deep brown eyes and he stared back, lovingly. He leaned his head down and kissed me again. This time, his lips didn’t separate from mine for a long time. They were warm and soft. I tangled my hands into his silky smooth ginger hair. When I pulled back for air, he smiled. No one said anything, but nothing needed to be said. I just hoped it wasn’t just a dream. Without moving off of him, he searched for the doorknob with his free hand. I untangled one of my hands from his hair and placed it on his. “I’ll let you know,” I whispered. He picked me up and carried me to my bed. When he gently threw me down, we sat next to each other. Just like I had hoped, he kissed me once again, stopping repeatedly for gasps of air. I felt him grab my knee like he needed help not falling over. He pressed his lips against mine with a fiery passion. I felt like I was in a Disney movie. I felt alive again. Like my parents still had their apartment, and my grandpa was still alive. This was my home, next to Flynn. The last thing I remember was combing my hand through his soft hair and him whispering to me: “I love you,”

Quote: This helps allow the reader to experience the shock of an unexpected peck.

A peck? A measly PECK? You read something of this caliber and that’s how you describe it?

A little further along, quote: Who would of expected that…

“would HAVE” — and this, on a website purporting to dispense advice?

Please don’t judge!

Jayla grabs my hand. I turn to her, eyebrows raised.

“What?” I ask. She flinches.

“I… Kagen… I… really like you.” She holds her breath, eyes not daring to meet mine. I straighten, and she takes my silence as a bad thing. Jayla shrinks away, shaking her head. I put out my hand to stop her from leaving.

“You like me?” It’s the only thing I can think to say. My mind is buzzing with thoughts. Then a small smile curls the corners of my lips up. I lift her chin with my finger, and pull her face towards mine. Our lips connect, hers warm and soft. I move my hand behind her neck and pull her closer, deepening the kiss. She places her hand in my hair, curling her fingers into it so she sends shivers racing down my spine. We brake away too soon. Her cheeks are rosy and her eyes are shining. I want to say something, but my mind is blank. Then, with a small smile, she scurries of.

I’m trying to write a romantic book where a couple struggle to survive because of an abhorrent war. How does this paragraph sound?

As Peter approached Layla, Layla began to shy away. “It’s ok.” Peter reassured. Layla stepped out of the shadows, and held Peter’s hand tightly. “Are you sure they’re gone?” Layla asked, searching the dark alley. “Yes,” Peter replied. “I’m sure.” Layla sighed. She laid her hand on Peter’s face, and then hugged him. “Thank you,” she said, motioning for a kiss. She placed her hand gently on Peter’s face, and then brought his face close to her’s. Then, she reached in for a kiss. Her pale, swollen lips gently brushed against Peter’s lips. Then, Layla nudged her lips closer to Peter until they finally kissed. People gathered around and cheered. The sky cleared away the thick layer of smoke. The war was finally over.

I’m trying to become a writer but have never been kissed before, so bear with me!

The world awakened as I wondered, staring as she flew, bounding through the forest like a doe. Her hands were flown out beside her as she danced through the rain, smiling at me through her sorrow. “Parch! Come here,” she beckoned, twirling around as she laughed. I slowly approached her, smiling unsurely as I stumbled about. “How can you be still while the world is so alive?” she cried, taking my hand and spinning me about. I hesitated, why, still today I do not know. She frowned, releasing me. “How can it be that you still are embarrassed with me?” I shook my head. “I’m not embarrassed, I’m just-“ “Then dance!” she laughed, shaking her head full of shiny wet hair. I sighed. What was I truly afraid of? Hurting my pride? She was right, I was a cowardly thing. But I wanted to please her, I guess that’s why I did it. I began to dance, twirling and spinning with her, my arms stretched wide as I began to sing. I was there, with her, and I would remember that moment for the rest of my days. In my mindlessness I stumbled, falling to the wet leaves of autumn. “Parch!” she shrieked, appearing at my side. “I’m ok-“ I started, before she lay down next to me. “Look at the sky,” she sighed, stretching her hands out as though if she tried hard enough she could grab the clouds and weave them into some beautiful dress. She then grabbed my hand. “Parch, you are unlike any boy I have ever met.“ Her eyes met mine. “ What do you mean?” I slipped my hand out of her’s, propping myself up under my elbow. “You, my friend, are afraid of me.” She laughed once more, sitting up herself. “A-afraid?” I sputtered, bilking out the rain. “Yes! You are. Or at least, if falling in love. Or perhaps to lose someone again.” “Again?” I looked at her. “Yes. Yes, I believe that is why you haven’t let down your guard. You are scared of accepting me, only to lose me. And suddenly I knew she was right. “But I won’t let you go, Parch Grant. I will keep you if you keep me.” And I knew she would. I nodded. She leaned into me, her breath sweet as the falling autumn rain. I squeezed my eyes shut, holding my breath. I didn’t know what this would bring, what this would mean- and then she kissed me. Her lips brought forth a marvelous firework of protection, of care. Her hand held my face as I relaxed, kissing her back. And the we broke apart, held by that moment until the end of all time.

This is my first attempt at a kissing scene. I’d love to know someone else’s feedback on it!

An arm strong and gentle stole about Katelyn’s waist, pulling her towards him. Liam’s hands gently grabbed her slender waist. She fit perfectly in his arms. The warmth of his touch drew her closer. So close she could feel his soft breath against her cheek. His eyes were a magnet the desire in his eyes drawing her towards him. Liam’s fingers brushed her cheek. She flinched at his touch. For an instant, he hesitated, afraid that she might pull away. Then, leaning towards him, she surrendered herself to him. His eyes searched her face in a questioning gaze. Her expression held no reserve or hesitancy, only perfect trust, and tender love. As Liam pulled her close, her hands slid up his chest around his neck. A shy, gentle touch. His gaze traveled to her lips. He glanced into her eyes, silently asking permission. She nodded. Tender and affectionate, his hand caressed her cheek. Willing herself to stop trembling, she leaned into him. Slipping his hand under her chin, Liam drew her lips towards his. She yielded to his touch as if the whole world melted away in the embrace of his arms. His lips brushed hers. The touch was hesitant. A tremor ran through her body. The rush of warmth surged through her, drawing every sense towards him in that impassioned moment. She pressed her mouth to his, the sensation of his lips against hers assaulting her senses. His left hand glided up from her waist to the small of her back, pressing her body to him. Liam held her in his arms, willing the moment to go on forever. He felt her longing, reserve, and passion, melt away in the safety of his arms. He drew back, their lips parting, but he didn’t let go of the delicate frame. Her heart beat against his chest. She was his. So small, so weak. And in that moment he swore to protect her from every pain and heartbreak he could keep her from. He would love this girl for eternity. Brushing back her hair, he kissed her forehead and whispered to the angel he held in his arms, “I love you.” He spoke in low, tender tones, his eyes saying far more than his words. Katelyn’s voice was soft but unhesitating. “I love you too, Liam,” she murmured shyly.

Listen, I love your insight. And it’s right. Yes! It really is. The stages are okay. It’s just that the examples used have to be the most boring kissing scenes.

They focus more on before and after the kiss instead of emotions during the kiss. Which I find a bit boring.

Maybe it’s not the vibe I’m looking for.

The first kissing scene is like, yes a surprise but, it’s as if a fish out of water (literally). those tongues flip and they flop and they wiggle. GHAADD!

The next kiss is like the character couldn’t wait to get it over with then buttered it up with a bunch of nice words. Like how you’d describe a nice soup that you’re not really in the mood to have.

But personally, I did like the stages you put out. It makes writing more of a science but it does give some more insight. So thank you.

I am a young author and I am writing hate-to-love romance for the first time. I would love a few tips on this scene. The setting is that they are lying side by side on a bed while Ethan reads a book to Skye.

Please, i’d like your comments on this.

Suddenly he became very aware of their position, there on the bed, under the sheets. Ethan’s gaze slid to Skye, who looked back. ‘Only … Only if you want it,’ he said uncertainly. ‘Kissing a prince is not on my to-do list, mind you,’ she replied flatly. Ethan blushed violently and turned away from her, holding the book in front of his face as best he could. ‘Did I embarrass you now?’ said Skye. ‘You’re mean,’ he said. He swatted at her with the book before hiding behind it again. She laughed softly. ‘Well, kissing a prince may not be on my to-do list, but…’ Ethan’s heart skipped a few beats as she pushed his book down. The lump in his throat widened as Skye’s face came closer. He stiffened completely and didn’t dare move a fin, afraid of doing something wrong and thus breaking the magic of the moment. He knew nothing more and then just waited, completely overwhelmed. ‘Only if you want,’ she whispered, her lips even more a few millimeters from his. He felt her warm breath brush past him and get lost in the storms of her eyes. Of course he wanted it, with all his body and all his heart. But his yes came out in the form of a choked squeak, since his throat was completely constricted. She smiled and leaned in even further. Ethan’s heart thudded against his ribs and his head exploded. Skye’s mouth was surprisingly soft. She smelled of the crisp night air and the stars, if that made any sense. Electric shocks slid down his spine, obscuring his thoughts. The one, scattered particle of his brain that still made an attempt to work told him to do something. Ethan flung the book away, wrapped his arms around her waist and pulled her to him, answering the kiss passionately. Skye put her hands flat against his chest and pushed him down on the bed. He gasped against her lips, displacing all thoughts, and let his hand slide into her raven-black hair. He tilted his head and deepened the kiss. Their surroundings became a blur until only Skye was there, the girl he loved. She tugged at the hem of his shirt, whereupon he sat up straight for a moment to pull it off, catching his breath in the process. As soon as he had it off Skye kissed him again. He let himself fall back into the sheets. It all happened naturally, as if it was meant to be. It wasn’t hard to believe that, either. His hands slid to her vest and unbuttoned it. He couldn’t care less about the consequences. It made them feel good to be able to be bad. He had jumped off the cliff. All he could do now was hope there was a safety net.

Terrific article, and very interesting comments. A very important thing is missing, though. Consent. It’s so important (and sexy!) to ask for permission to touch another person. I’m not sure why it’s left out here – maybe because the examples are from older novels – but there are so many reasons why touching another person without their permission can harm them. If we want to see more compassion, respect, and healthy sexual relationships in the world, we as authors, need to model them. It doesn’t “kill the mood” to ask to touch or kiss or anything else – harming someone with your touch kills the mood far worse.

Thank you for the tip! I will see what i can do

Sorry if this is even worse. I am a bit nervous when writing stuff like this and most of the time i just hope its not stupid or childish. But anyway, here is the fixed version of it. I hope it is better.

Suddenly he became very aware of their position, there on the bed, under the sheets. Ethan’s gaze slid to Skye, who looked back. ‘Only … Only if you want it,’ he said uncertainly. ‘Kissing a prince is not on my to-do list, mind you,’ she replied flatly. Ethan blushed violently and turned away from her, holding the book in front of his face as best he could. ‘Have I embarrassed you now?’ said Skye. ‘You’re mean,’ he said. He swatted at her with the book before hiding behind it again. She laughed softly. ‘Well, kissing a prince may not be on my to-do list, but…’ Ethan’s heart skipped a few beats as she pushed his book down. The lump in his throat widened as Skye’s face came closer. He stiffened completely and didn’t dare move a fin, afraid of doing something wrong and thus breaking the magic of the moment. He knew nothing more and then just waited, completely overwhelmed. ‘Only if you want,’ she whispered, her lips even more a few millimeters from his. He felt her warm breath brush past him and get lost in the storms of her eyes. Of course he wanted it, with all his body and all his heart. But his yes came out in the form of a choked squeak, since his throat was completely constricted. She smiled and leaned in even further. Ethan’s heart thudded against his ribs and his head exploded. Skye’s mouth was surprisingly soft. She smelled of the crisp night air and the stars, if that made any sense. Electric shocks slid down his spine, obscuring his thoughts. The one, scattered particle of his brain that still made an attempt to work told him to do something. Ethan flung the book away, wrapped his arms around her waist and pulled her to him, answering the kiss passionately. Skye put her hands flat against his chest and pushed him down on the bed. He gasped against her lips, displacing all thoughts, and let his hand slide into her raven-black hair. He tilted his head and deepened the kiss. Their surroundings became a blur until only Skye was there. Suddenly she pulled back. She looked at him breathlessly, and for a moment he had no idea of time or place. ‘Is … Sorry, I’m too quick.’ She wanted to scribble straight already. ‘No, it’s okay,’ he said, before he knew it. She stiffened. ‘Seriously? ‘I wouldn’t say it otherwise,’ he smiled. He had never seen her so shy. ‘I-I’ve just never really done this before-you know…’ “Do you trust me? She hesitated for a moment, but then nodded. He realized how hard this had to be, after Leo and all the things that had happened. He let his hand slide down her neck and kissed her again, but more quietly, more calmly. He felt her relax. He leaned back a little. “Sure? I understand if you’re…’ ‘Yes, yes I’m sure.’ ‘Okay.’ She tugged at the hem of his shirt, whereupon he sat up straight for a moment to take it off, catching his breath in the meantime. As soon as he had it off Skye kissed him again. He let himself fall back into the sheets. It all happened naturally, as if it was meant to be. It wasn’t hard to believe that, either. His hands slid to her vest and unbuttoned it. He couldn’t care less about the consequences. It made them feel good to be able to be bad. He had jumped off the cliff. All he could do now was hope there was a safety net.

Your examples suck, two were about underage characters, one involved way too much tongue propaganda, and the others were just boring to read. Maybe next time try reading a book by a woman and not an incel from the 1920s.

Every writer NEEDS this book.

It’s a guide to writing the pivotal moments of your novel.

Whether writing your book or revising it, this will be the most helpful book you’ll ever buy.

Learn how to:

• Nail chapter endings
• Surprise your reader with plot twists
• Describe a character for the first time
• Write a killer ending

Search for creative inspiration

19,903 quotes, descriptions and writing prompts, 4,965 themes

dance - quotes and descriptions to inspire creative writing

• artists are healers
• ballet dancer
• birthday party
• dance floor
• dance therapy
• dinner parties in the apocalypse
• formal dress
• halloween party
• house party
• street dance
• thanksgiving party

Every dance move sang of emotional truths - joy, anger, hope - woven together to write a novel in mere moments; a story of beating the pre-written tale to become a legend.

Dance was the speaking of my chi, how it communicated with my own soul and others.

To dance is the art of my most happy soul.

To dance is to heal, to speak in the language of emotion, a language that is so much more ancient than words.

When Alisha flowed in dance it was as if it were the only way her body truly knew how to speak. Verbally she was guarded, physically she would shrink and fade into the background no matter where she was. On stage her personality, her sensuality burst through into the most vibrant picture of a beautiful soul. Troy watched her move to the music filling the gymnasium, crackling somewhat from the old cassette recorder. For the most part that ancient music machine was her only audience, watching her with those two dusty black eyes. As she turned her eyes caught him standing there, him less adept at hiding in the shadows than she. He dropped his eyes momentarily before looking, his head tilted to one side and a hopeful smile playing on his lips.

When Kory heard the music it was like liquid adrenaline being injected right into his blood stream - not so strong as to freak him out, but just enough to make him tingle and start to move his body. He'd never had a dance class, but he and his mates had jived to music since their early teens, competing in the friendly way boys do to "up" one another. Now, just turned twenty, he was a well oiled machine on the dance floor. He didn't dance to show off, to make the girls watch - but they did. Anyone that could move like their limbs were half liquid in perfect rhythm and still look strong were interesting to say the least. He was used to the attention and he liked it. Then one day a new girl was at the club, not a mover and shaker, kinda shy in the way she moved, but he couldn't help but imagine them together. She was black, her hair in tight braids and he looked at her like he'd never really seen a woman before. Then for the first time in years he felt like if he opened his mouth nothing witty or interesting would come out...

Jerome grew up in a household of women who danced. There was never a day that went by without his mother or an aunt taking him by the hands to waltz or boogie around the room. Music was on from first light to last. In a way it flowed through them and between them, creating bonds stronger than the walls of the temple. Every time he heard those old tunes in the years to come he was dancing again, dancing with those women who loved him more than the rising sun.

Polly never walked anywhere. Her legs extended like a prima ballerina and she glided from place to place, arms held in front, finger tips touching. For her a moment spent not dancing was a moment wasted. Others saw it as eccentricity, but to me it was perfection. Expression through movement was her genius and watching her hone it was more breathtaking than the new flowers of spring.

To dance was freedom, to dance was to become an opening flower or a bird aloft. To feel the movement was new breath for my body and nourishment for a soul so tired. I could dance until the sweat dripped to the polished wood and my reflection showed pink cheeks. After that sleep came easy and the dreams were of more twirls and leaps to the music that was part of my blood.

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• English & Literature
• Health & Physical Education

How Dance Can Teach Literature 5 ways to use dance in your English class.

Lesson content.

Dance, as an art form, is perceived by many to be outside the domain of serious academic study.  However, dance can be a highly successful method of instructional support in many core subjects. The English (or language arts) classroom is one excellent example. Dance can complement the teaching of several diverse elements of the English curriculum. The five “centerpieces” in the teaching of English that can be illuminated and enriched through dance are: the language of analysis; the explication of a specific text; comparative analysis of literature; the essay-writing process; and the nurturing of creative imagination.

1. The Language of Analysis

A vital step in readying students to read literary texts with understanding and discernment is the inculcation of specific ways to examine literature. An effective way to achieve this goal is by first helping students learn what to look for—to grasp insight into the logical and aesthetic forces of human expression that, when woven together, build the narratives, characterizations and themes, shape the forms and individual styles, and achieve impact. Such “readiness” also helps students develop a critical eye in a probe of what contributes to the success of a manuscript, what specific aspects could be strengthened, what makes a “classic” a “classic.”

Dance can be a great assist in clarifying the language of analysis and inculcating an understanding of and appreciation for the strong undercurrents that fuel the power of literature. Explanations of tone, the basic concept of rhythm in poetry and prose and variations in rhythm, patterns of syntax, diction, and rhetorical elements such as parallelism, emphasis, subordination, coordination, compression, and expansion are deepened when demonstrated through dance movement. Students in a class or in the larger school community who have had dance training could be the primary “demonstrators,” but an entire class also could participate in dance movement aimed at clarifying and reinforcing aspects of the language of analysis.

2. Explication of a Specific Text

The explication of any genre of literature—poetry, short stories, dramatic scripts, novels, essays —can be enhanced by the infusion of dance into explanation “lessons.” Drawing on the “readiness” step of using dance to clarify the language of analysis, students can identify discrete elements of the narrative, characterization, theme(s), and form of a specific text and showcase them through dance. An effective starting point could be to have small collaborative groups “script” the structural drive of a literary selection through a graphic drawing and/or a brief written explanation of their perceptions, then present the evidence through dance movement. For instance, the assertion that the text starts slowly, then builds steadily to a climax at the end or builds to a climax then drops off in a sustained denouement, could be augmented through dance demonstration. The structural ebb and flow generated by a series of climatic points within the overall structural drive of a text could be punctuated by dance movement.

Clarification of the linguistic “texture” of a text also could be enriched through dance “translation.” For instance, dance can underscore whether or not a text is developed in a sustained rhythmic pattern (metered or unmetered in poetry) or that the rhythm changes sporadically to dramatize elements of the narrative, characterization, or theme. Dance also can be effectively used to delineate the tone quality of a literary selection including variations of tone achieved through shifting patterns of syntax, rhythm, and diction. Selected segments of the narrative and/or theme can be “interpreted” through dance. Rhetorical devices such as parallelism, sustained imagery, and alliteration can be highlighted through dance. Particularly valuable is that using dance to clarify and enrich the explication process of literature helps students perceive how the artistic tensions of a literary selection emerge from the organic unity of narrative, characterization, form, and theme. The intellectual, emotional, and psychological impact of a literary selection on a reader or observer is affected not only by narrative, characterization and/or theme but also by the aesthetic designs of form.

3. Comparative Analysis of Literature

One of the most valuable study techniques for deepening students’ grasp and appreciation of fine literature and their own writing is to hone their skills of comparative analysis. Again, dance can serve as an agent for helping students sharpen their perspective in making comparisons. Drawing on their background in the explication process, students can articulate a range of comparisons through dance.

As example: Are the selections being compared shaped by similar points of view? Are both interior monologues? Or is one source built from an “inner self”—with the emotional and psychological “voice” of the protagonist dominant in molding narrative and theme, while the other(s) source is developed through the “voice” of an objective or omniscient observer? Is one heavy with exposition and characterization, released in formal patterns of syntax while the other is sparse in description, terse in tone, developed in sentence fragments, and the interruptions of the mindstream? Or do the literary selections being compared include both outer and inner “voices,” with fluctuations of expanded lyrical passages and stream-of-consciousness?  Students with dance training could be called upon to project such similarities and differences in literary selections through dance. Non-dance trained students could be asked to improvise movement that they felt projected aspects of similarity or differences. Vignettes of videos of the choreographies of celebrated classical ballets such as  Don Quixote  or  La Sylphides  compared with Martha Graham’s modern dance version of  Lamentation  and/or  Cave of the Heart  could deepen perception of differentiated elements of development in literature.

4. The Essay-writing Process

An essay—analytical, persuasive, or personal (such as a college admissions essay)—is like other literary sources in that it is a focused entity with external boundaries and internal structure. It is formed out of the chaos of raw thought that streams through the mind of the writer when confronted with an assigned topic or when working to shape a topic of personal choice. Like all composition, it is a mathematical equation organically forged from a composite of logically related parts and, when compelling, infused and enriched with well-chosen and effectively integrated rhetorical devices.

Success in developing any type of essay is best achieved by the writer formally or informally following the steps of the writing process. Such an approach helps the writer to flush out a rich range of ideas, to narrow and limit those ideas into a manageable focus, and then to craft a manuscript that has appealing logical structure, substantive support, energy in the expansion of ideas, and rhetorical force.

Following the steps of the pre-writing process helps the writer generate a wealth of ideas and bring focus to that creative flow of ideas. These steps also help the writer harness his or her individual “voice” through capturing the thoughts, points of view, creative vision, personal experiences, and reactions that stream through the mind in focusing on a topic, a memory, or experience.

Dance can be instrumental in helping students understand the power of this pre-writing process. Asking a class (with all members participating) to choreograph the pre-writing steps helps students inculcate not only the pragmatic elements of the process as an organizational tool, but also sharpens their awareness of how the pre-writing process “mines” what they know about their topic, helping to expose what they don’t know and need to explore, and generating creative vision of what they want the final product to be.

The steps of the pre-writing process:

1. Capturing the chaos of the mind when brainstorming a topic 

2. Narrowing to a focus through trial and error 

3. Forging, as an early narrowing down process step, to discrete focal points that relate to the topic in a variety of ways 

4. Aligning interrelated focal points in categories ( for instance, if the general topic is “skiing,” some of the focal points may relate to “ideal places to ski,” others to “lodge accommodations,” others to “traveling challenges and/or experiences,” some to “après-ski”) 

5. Constructing two or three mini-theses (assertions) for each category—again, as a trial and error step 

6. Deciding what assertions could be woven together to forge a logically sound and compelling thesis that would serve as the controlling purpose of the essay

When initiated as a collaborative problem-solving activity designed to give added insight into pre-writing steps, the choreographing of each of the above steps in sequence (as one would choreograph the structure of a ballet) could serve as meaningful support for teaching the pre-writing process in an English class.

The opening out of the units of thought embedded in the thesis when writing the paper and experimenting with ways to achieve rhetorical power in structuring the paper also can be crafted in dance expression.

5. Nurturing Creative Imagination

Each of the ways suggested for using dance in an English class, although defined above as a way to achieve other purposes, nurtures students’ creative imagination. Some English class assignments involving dance, however, could specifically target “imagination” as a primary goal. Consider, for instance, assigning students, as an extension of a creative writing exercise, to articulate an abstract concept in dance idiom (individually, in pairs, or collaborative teams). Such abstract concepts as “jealousy,” “revenge,” “circumscribe,” “separate peace,” and “payback” are just a few possibilities. Citing existing literary sources built around some of these concepts could clarify the assignment and help evoke imaginative possibilities.

Another prompt could be to have students create a brief script for a dance drama. Some possibilities could be the scene of a homecoming, preparation for a wedding, an athletic practice session, a love triangle—there are numerous possibilities.  Integrating dance into the teaching of English serves many purposes: It supports differentiated learning by tapping into special talents and interests. It can open doors to the discovery of unrealized talents and interests. And it serves, in numerous ways, to clarify and enrich essential English class lessons in the study of literature, expository, and creative writing. It supports problem-solving, collaboration, and other communication skills in a fresh and provocative way. A teacher need not have dance training to pull it off. Think of dance as an intrinsic element of human nature. Encourage students to tap that self-magic to implement their study of English.

Jayne Karsten

Lisa Resnick

Joanna McKee

December 1, 2019

Article 4 Easy Social Dances for Upper Elementary

Some fun social dances to try with your upper-elementary-level students.

Article 5 Easy Social Dances for Early Elementary

Channel your students’ love of movement with these easy social dances.

Lesson Navajo Weaving

In this K-2 lesson, students will explore Navajo weavings by Navajo Peoples of North America. Students will choreograph a pattern of movements inspired by the weavings. Students will perform and discuss a pattern of movements for an audience.

• Visual Arts
• Social Studies & Civics

Lesson A Butterfly’s Life Cycle Dance

In this K-2 lesson, students will choreograph an original dance that communicates the life cycle stages of the monarch butterfly. They will read Eric Carle’s book, The Very Hungry Caterpillar, and explore the monarch butterfly migration process.

Lesson Jazz Music, Dance, and Poetry

In this 3-5 lesson, students will explore jazz music and dance, then write a jazz-inspired cinquain poem. They will build their background on the history of jazz and its use of improvisation to demonstrate jazz dance movements. 

• Jazz & Blues

Lesson Storytelling Through Dance

In this grade 3-5 lesson, students will analyze how ballet dancers in The Nutcracker act out the story/character with movement instead of words. Students will emotionally and physically tell a story through dance and pantomime.

• Musical Theater

Collection Dance

What’s the difference between troika and hula? How can dance tell stories and preserve histories? Discover dance and its impact on culture by exploring Ancient Egyptian rituals and Native American legends. Learn how dance tells stories and poems through a language of movement and music, and pick up a few moves yourself.

Collection Language & Literary Arts

How do fables and myths explain the unknown and preserve cultures? What makes a good story? How do plays comment on societal issues? Grab a pencil and prepare to create original poems, experience the Civil War through letters, and parse symbolism and metaphor in this exploration of language arts.

• Language Studies

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