creative writing on railway station

How to Describe a Train in Writing (30+ Words & Examples)

Riding the rails has captured the imagination of writers for over a century. Trains have been featured in all genres of fiction from romance to sci-fi.

Here’s how to describe a train in writing :

Describe the sight, sound, and motion of trains by focusing on key details like the locomotive style, speed, interior details, and smoking steam from the stack. Use vivid sensory language to transport readers aboard the rail journey.

In this guide, you’ll learn how to describe all aspects of trains from their traits and purposes to stations and ideas for train scenes.

10 Key Train Traits to Describe

Table of Contents

There are 10 traits you need to know to master writing train descriptions:

• Locomotive style

Destination

Locomotive style.

The locomotive style refers to the design and visual appearance of the engine powering the train.

Pay attention to key features that distinguish one style from another, like the shape of the front grille on a diesel or the large boiler on a steam engine.

Mention details like the number of wheels, decorative embellishments, and the general silhouette or profile of the locomotive.

Color Scheme

The colors used to paint the train exterior play a key role in description.

Note the dominant hues used on the engine, cars and any striping or lettering.

Black, gray, maroon, forest green and navy blue are common. Is it a vibrant, glossy color or more muted and weathered?

Size/Length

The general size and length of the train determines how many cars it contains.

An intercity passenger train may be quite long with many attached cars while a subway is much shorter.

Use terms like massive, hulking, and colossal for large trains vs. tiny or small for shorter ones.

Mention any multi-level cars as well.

Identify the train’s primary function to transport passengers or freight/cargo.

Commuter trains take riders on daily trips while freight trains haul predominantly goods and materials across long distances.

Knowing the purpose provides context.

The age and era of a train help establish the time period.

An antique steam locomotive from the 19th century invokes vintage images while a bullet train feels ultramodern.

Use descriptors that indicate the general age — old, historic, futuristic, modern, etc.

The speed a train is moving is crucial to convey, as it feels far different watching a slow coal train vs. a high speed express.

Use words like crawling, moderate, fast, swift, speeding or racing to indicate speed.

Mention how quickly the scenery whips past.

Trains make distinctive sounds from the engine, horn, wheels on tracks and other mechanisms.

Describe the volume – quiet, soft, loud, deafening – and quality of the sounds like screeching brakes or clickety-clack wheels.

Steam locomotives emit copious smoke from the stack which creates a dramatic visual.

Note the volume – billowing, puffing, wafting – color and scent. Smoke evokes key sensory details.

Cars/Carriages

The number, styles and purposes of the attached railcars provide helpful context.

Short commuter trains may have just a few while cross-country ones have many passenger, dining, sleeper and freight cars.

Identify any that stand out.

Knowing where a train is headed, even if just the general direction, adds intrigue and purpose.

Is it chugging toward a big city or traveling through open countryside?

This ties into the overall context.

Types of Trains

There are many types of trains that operate for different purposes.

Here are some of the most common:

• Passenger trains  – Used to transport people between stations. These include high-speed bullet trains, intercity trains, commuter trains and subways.
• Freight trains  – Haul cargo in closed cars or open tops. Examples are unit trains, mixed freight and intermodal trains.
• Light rail  – Urban passenger trains operating on mainline railroad tracks. They are smaller and lighter than heavy rail.
• High-speed rail  – Intercity passenger trains that operate at speeds over 200 km/h (120 mph).
• Steam locomotives  – Antique trains powered by steam engines burning coal, wood or oil. They have mostly been replaced by diesel and electric trains.

How to Describe a Train for Kids

When depicting trains for children, focus on key details that will spark their imagination:

• Bright, vibrant colors on the engine and cars
• Interesting shapes like steam billowing from the stack
• Happy faces or names given to the trains
• The sounds – whistles blowing, wheels clacking
• Child-friendly destinations like the zoo, circus or beach
• Riders waving from the windows
• Special cars like an observation deck or caboose
• Animal characters as conductors or engineers
• Trains that can talk and show personality

Use kid-friendly, sensory language around sights, sounds, smells and motion.

Describe colors, shapes, noises and actions in an upbeat way. Bring the train to life as a friendly character for a delightful ride.

Here is a video to help you learn how to describe trains:

30 Words to Describe Trains

All these tips are good, but what about the actual language of trains?

Don’t worry – here is a list of words you can use when describing trains:

30 Phrases to Describe Trains

Here are some phrases you can use to talk about trains:

• Locomotive giant
• Carriages clattered along
• Whistle splitting the air
• Smoke billowing
• Engine roaring
• Cars rumbling along
• Train slithered along
• Serpentine machine
• Thunder down the tracks
• Caterpillar of cars
• Black iron beast
• Shriek of metal
• Blur of machinery
• Steel wheels grinding
• Slate gray cars
• Snake of steel
• Echoing horn blast
• Ghostly owl lights
• Pistons pumping mightily
• Wheels clacking rhythmically
• Coach lights flickering
• Steam whistling from vents
• Gears churning noisily
• Engine car belching smoke
• Railcars clacking together
• Steel rails humming
• Whistle piercing the air
• Passengers murmuring inside
• Conductor yelling, “All aboard!”

How to Describe a Train Station in Writing

Train stations serve as bustling hubs for arrivals, departures and daily commutes.

When describing a station, consider these key elements:

• Architecture  – The style and materials such as Victorian, Art Deco, brick, marble, etc.
• Size  – The general scale from a small rural stop to a massive hub station.
• Platforms  – The number, length and features like benches, overhangs or digital signs.
• Tracks  – How many railroad tracks run through the station? Are they elevated or at ground level?
• Transportation modes  – Are trains, buses, taxis and other transit integrated here?
• Interior details  – What does the inside look like? Highlight ticketing areas, waiting rooms, shops.
• Lighting  – Overhead lighting, natural light from windows, ambient glow of trains.
• Crowds  – The volume of people, queues, announcements and overall energy.
• Sounds  – The echoes of footsteps, murmuring voices, train arrivals/departures.
• Smells  – Odors from food stalls, coffee shops, engine exhaust or crowds.
• Purpose  – Is it a commuter, passenger or mixed-use station?

Example Train Descriptions

Here are three sample train descriptions in different fiction genres:

The antique steam train clicked and puffed as it pulled out of the station, tendrils of white smoke coiling from its black stack.

The setting sun gleamed on its scarlet boiler as the mammoth iron horse powered down the tracks with the faint scent of coal trailing behind. Emily pressed her nose to the window, admiring the faded golden carriages rolling past quaint countryside toward their destination.

The silent silver bullet train glided swiftly into the station, its metallic sides shimmering under the harsh white lights.

With a barely audible hiss, the glossy doors slid open and passengers disembarked, the train’s electric engine humming. Jane strode quickly through the grim crowd, heading toward the hulking machine that would transport her 200 mph to the next dreary mega-city.

The ancient train rumbled through the misty high mountain pass, its gears grinding and smokestack belching acrid plumes. The black iron wheels screeched against the tracks as the beastly locomotive pulled its rattling cargo cars.

Inside, the air was musty and eerily quiet, the wooden seats weathered from ages of use.

Alana peered out the grimy window at the spectral pine forest sliding past, wondering what magical secrets this transport might hold.

20 Unique Ideas for Using Trains in Your Story

Here are 20 interesting ideas for incorporating trains into short stories or novels:

• An antique steam train time travels to the Wild West
• A magical train picks up lost kids and takes them on adventures
• Clues about a mystery are found on a cross-country train trip
• Ghosts haunt the cars of an old train graveyard
• A futuristic bullet train on Mars helps colonists escape danger
• An enchanted train can fly as well as ride the rails
• A runaway train hurtles out of control toward doom
• An eccentric group of characters meet on an overnight train
• A talking train engine guides riders through fantastical lands
• A young stowaway finds dangers and wonders while riding the rails
• A scientist transforms into animals after a freak lab accident on a train
• A portal in a train station opens to a magical kingdom
• A quarantined train holds a deadly outbreak threatening humanity
• Famous historical figures interact on an express train through time
• A post-apocalyptic survivor finds the last working locomotive
• A train heist happens as villains attempt a daring robbery
• An animal circus troupe rides the rails from show to show
• A miniature train in a model exhibit comes to life at night
• A mechanical train-robot helps fight off an alien attack
• A child befriends the ghost of an old train conductor

Final Thoughts: How to Describe a Train in Writing

Describing trains requires focusing on key details – from the locomotive style and sound, to the speed, purpose and era – that bring these powerful machines to life on the page.

All aboard for more tips on creative writing and blogging as we travel together on this railroad of words!

Be sure to check out the other helpful articles on my website to further polish your storytelling skills.

Read This Next:

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• How to Describe Flying in Writing (21 Best Tips + Examples)
• How to Describe a Rich Person (21 Best Tips + Examples)
• How to Describe Love in Writing (21 Best Tips + Examples)

Writing Nestling

How To Describe A Train In Writing (12 Important Steps)

Introducing the art of describing a train in writing is akin to unveiling a portal to a world of captivating journeys, powerful locomotives, and the rhythmic heartbeat of rail travel.

Trains, with their imposing presence and iconic place in the annals of transportation, offer writers a canvas of inspiration unlike any other. In this exploration, we’ll embark on a literary adventure through the intricacies of locomotives, the allure of train cars, and the enchanting landscapes they traverse.

We’ll delve into the use of evocative language, sensory details, and metaphorical expressions, while also examining the significance of historical context and personal observations.

The goal is to transform words into a vivid tapestry that transports readers to the dynamic world of trains, where every description becomes a journey in itself, and the magic of rail travel comes alive on the page.

Table of Contents

How To Describe A Train In Writing

Describing a train in writing involves creating a vivid and detailed picture for your readers. Here’s a step-by-step process on how to do it:

Choose your perspective

Decide whether you want to describe the train from an inside or outside perspective. Are you a passenger on the train, an observer from the platform, or perhaps a combination of both?

Observe the train

Take a few moments to closely observe the train, paying attention to its various components. This includes the locomotive, carriages, wheels, windows, and any unique features that stand out.

Note the size and type

Describe the size and type of the train. Is it a sleek, modern bullet train, an old-fashioned steam locomotive, or a freight train loaded with cargo? Mention the length and number of carriages.

Details of the locomotive

If visible, describe the locomotive. Mention the shape, color, and any distinctive markings. Note whether it’s pulling the train or pushing from behind.

Carriage description

Describe the carriages. Are they passenger cars, freight cars, or a combination? Mention the colors, any graffiti or artwork, and any noticeable wear and tear.

Windows and doors

Discuss the train’s windows and doors. Are they large and panoramic, or small and functional? Mention any people or scenes you can see through the windows.

Wheels and undercarriage

Comment on the wheels and undercarriage of the train. Describe the size, the sound they make as they roll along the tracks, and any movement or vibration you feel.

Sounds and atmosphere

Explain the atmosphere around the train. Mention the sounds of the engine, the clattering of wheels on the tracks, and the hiss of brakes. Are there any scents associated with the train, such as diesel fuel or hot metal?

Passengers or cargo

If applicable, describe the passengers or cargo on board. Are there diverse groups of people, or is it primarily a freight train carrying goods? Provide details about their activities, expressions, and interactions.

Surroundings

Describe the environment in which the train is situated. Are you in a bustling station, a serene countryside, or an urban landscape? Mention any relevant details about the surroundings.

Emotions and atmosphere

Convey the emotions and atmosphere surrounding the train. Is there a sense of anticipation, adventure, or nostalgia? Use descriptive language to capture the mood.

Summarize the key elements and feelings you’ve described. Leave the reader with a lasting impression or a thought related to the train.

Remember to use vivid and evocative language to bring the train to life in your reader’s imagination. Incorporate sensory details like sights, sounds, and smells to make your description more engaging and memorable.

Understanding the Elements of a Train

The inner workings of a train are like the intricate gears of a well-kept secret. Beneath the majestic exterior, a locomotive is a mechanical symphony, each piston stroke echoing a century of innovation.

The cars that trail behind aren’t mere carriages; they’re time capsules, cradling stories of commuters, cargos, and cross-country odysseys.

To truly understand the elements of a train is to unlock the door to a world where steel behemoths dance on steel tracks, their engines pulsating with power and history.

It’s an invitation to peer into the heart of a juggernaut and be captivated by the soul of transportation itself.

The locomotive, often considered the beating heart of a train, is a marvel of engineering and raw power.

It is a symphony of mechanics, with massive wheels, towering smokestacks, and a relentless determination to conquer the rails.

Whether it’s a mighty steam engine, a sleek electric locomotive, or a robust diesel workhorse, each type tells a unique story of technological evolution.

The locomotive’s thunderous roars and rhythmic chugging are not just sounds; they are the very pulse of progress, propelling passengers and goods across vast landscapes.

With its imposing presence and timeless significance, the locomotive embodies both the romance and the relentless momentum of rail travel, forever etching its place in the annals of transportation history.

Exterior Features

The exterior features of a train are a visual spectacle that captures the essence of both function and aesthetics. The train’s formidable shape, often a study in sleek aerodynamics or rugged practicality, stands as a testament to engineering prowess.

The colors and livery adorning the train’s surface, whether adorned in striking steel-gray, vibrant corporate logos, or nostalgic heritage liveries, tell stories of identity and purpose.

The intricate details such as rivets, windows, and the prominent nose of the locomotive are like the train’s signature, offering a signature style that varies from one model to another.

The exterior of a train is not just a shell; it is the first impression, a bold introduction to the grand journey that awaits, and a canvas that reflects both the era and the spirit of the rail adventure.

Interior Features

The interior features of a train hold a world of comfort, style, and functionality, hidden behind the formidable facade.

Passengers step into a cocoon of well-designed spaces that transform mere travel into a memorable experience.

Seating arrangements, whether in spacious cabins with plush seats or classic cars with rows of bench seats, cater to different tastes and needs.

The decor, from the classic elegance of vintage cars to the modern minimalism of high-speed trains, speaks volumes about the train’s character.

The ambiance, set by soft lighting, soothing colors, and often panoramic windows, ushers passengers into a tranquil realm as the scenery unfolds outside.

The interior is a sanctuary of travel, where passengers can relax, socialize, or work, all while being serenaded by the rhythmic symphony of the tracks beneath, making the journey as much a destination as the arrival itself.

Research and Preparation

Research and preparation are the compass and map of every writer’s journey, guiding us through uncharted territories of knowledge and creativity.

They are the whispered secrets of experts, the whispered tales of history, and the whispered dreams of the imagination.

In the realm of writing, they transform mere words into worlds, characters into vivid personalities, and plots into gripping odysseys.

It’s a meticulous excavation of information, a curious exploration of diverse perspectives, and a passionate embrace of understanding.

Just as a ship requires a star to steer by, writers rely on research and preparation to navigate the vast seas of storytelling, allowing them to embark on adventures that can transport readers to any corner of the universe, be it real or imagined.

Historical context

Historical context is the backdrop against which stories unfold, the silent but influential character in every narrative. It is the master key to unlocking the significance of events, the motivations of characters, and the essence of any era.

Just as a photograph’s meaning deepens with the knowledge of when and where it was taken, a story gains depth and resonance when placed within its historical framework.

It transports readers to the heart of a different time, immersing them in the customs, challenges, and triumphs of the past.

Whether it’s a tale of bygone empires, a revolutionary period, or the quiet moments of everyday life, historical context is the luminous thread that connects the present to the past, allowing us to peer into the windows of history and learn from its wisdom, heartache, and grandeur.

Era and setting of the train

The era and setting of a train are the twin pillars upon which the journey of a locomotive unfolds. They determine not only the physical landscape but also the very spirit of the experience.

Whether it’s the age of steam locomotives chugging through the picturesque countryside of the 19th century, the modern bullet trains racing through futuristic cityscapes, or the nostalgic charm of a heritage railway winding through a historic town, the era and setting lend a distinctive flavor to the adventure.

The scenery outside the window changes, but so do the attitudes, expectations, and aspirations of those on board.

These elements are not mere stage decorations but are dynamic partners, shaping the narrative and imbuing it with a unique sense of time and place.

The era and setting of a train transport readers to different worlds, offering a glimpse into history, culture, and the ever-evolving human spirit.

Observation

Observation is the writer’s closest confidant, the gateway to a world of detail and nuance that others might overlook.

It’s the art of keenly perceiving the ordinary and transforming it into the extraordinary. To observe is to engage all the senses, from sight to sound, touch to taste, and even the intangible feeling of a moment.

It’s the way a train conductor’s cap sits at a particular angle, the scent of the locomotive’s coal or diesel, the sensation of vibrations underfoot, and the symphony of whistles and clanking wheels.

Writers who observe well capture the essence of reality and infuse it into their stories, inviting readers to see, hear, feel, and ultimately, to deeply connect with the worlds they create.

Observation is the lens through which the writer brings the tangible and the intangible to life, illuminating the beauty and wonder that exists in the most ordinary of moments.

Personal experience

Personal experience is the storyteller’s most intimate treasure, a reservoir of emotions, insights, and authenticity. It’s the heart of narrative, the force that breathes life into characters, scenes, and events.

Drawing from one’s own encounters, whether mundane or extraordinary, adds a layer of genuine resonance to writing.

These experiences, like vibrant brushstrokes on a canvas, infuse the narrative with vivid colors and genuine emotions, allowing readers to connect on a profound level.

It’s the joy, sorrow, adventure, and vulnerability that the writer has personally felt, translating into words that resonate with universal truths.

Whether it’s a small detail like the taste of a childhood treat or a life-changing moment, personal experiences enrich storytelling, making it relatable, compelling, and, ultimately, unforgettable.

Utilizing Descriptive Language

Descriptive language is the artist’s palette of words, the alchemy of transforming mere text into a vivid, living canvas.

It’s like a symphony of imagery that dances in the reader’s mind, painting worlds, characters, and emotions with the brushstrokes of words.

It’s the way a single sentence can conjure the fragrance of a long-lost summer or make the reader feel the chill of a moonlit winter’s night.

Descriptive language is the enchanted doorway to boundless imagination, where metaphors and similes become the keys to unlocking hidden treasures of meaning.

It’s the language of dreamers and explorers, a portal to realms unknown, a vivid tapestry that turns words into windows through which readers can peer into the depths of the human experience.

Creating a Scene

Creating a scene is the author’s sorcery, a conjuration of worlds from mere ink and paper. It’s the architect’s blueprint for a journey through time and space, where the reader is the honored traveler.

Each word is a brick, every sentence a doorway, and together they construct the theater of imagination. The scene is a symphony of sensory experiences, an intricate web of sights, sounds, and emotions that can transport you to any realm, be it the bustling bazaar of Marrakech or the desolate expanse of an alien planet.

In the hands of a skilled wordsmith, a scene isn’t just a backdrop; it’s a magic carpet that whisks you away to adventure, emotion, and discovery.

It’s a portal to a realm that exists only in the mind, a place where the author and reader meet, and together, they explore the boundless landscapes of the human psyche.

Setting the Stage

Setting the stage is the writer’s invitation to step into a world of their creation, a theatrical overture to the story about to unfold. It’s the atmosphere, the ambiance, and the sensory palette that infuses life into the narrative.

The stage can be a cobblestone street in 19th-century London, an alien planet’s desolate wasteland, or a bustling cyberpunk cityscape, each with its own unique allure.

Through meticulously chosen details, the writer crafts a portal into an alternate reality, setting the reader on a sensory journey.

It’s not just the backdrop; it’s a character in itself, influencing the mood, the characters’ choices, and the emotions that will unfold.

Setting the stage is an artful act of immersion, and in that carefully constructed world, the reader becomes an integral player, each detail enticing them to journey further into the story’s enchanting tapestry.

Incorporating Surroundings

Incorporating surroundings is the writer’s method of breathing life into the narrative, painting the world with a brush dipped in the vivid hues of context and atmosphere.

The surroundings are more than just background; they are the soul of the setting, characters, and events. Whether it’s the sun-kissed meadows of a countryside idyll or the dimly lit, mysterious alleyways of a noir thriller, the surroundings set the mood, evoke emotions, and influence the narrative’s trajectory.

They are the intricate details – the whispering leaves in a forest, the distant hum of a bustling marketplace, or the ominous shadows lurking in a deserted mansion – that draw the reader into the story’s immersive embrace.

By incorporating surroundings, writers invite readers to not merely observe but to experience, to wander through the textured tapestry of the narrative’s world, adding layers of depth and authenticity to the story.

Interaction with Characters

Interaction with characters is the heartbeat of storytelling, the dynamic exchange that brings the narrative’s inhabitants to life.

It’s the way characters converse, collide, or collaborate, revealing their innermost thoughts, dreams, and conflicts.

These interactions sculpt the relationships that drive the plot, from the tender love between star-crossed lovers to the bitter clashes of adversaries locked in a battle of wills.

Through dialogue, actions, and reactions, characters breathe with authenticity, and readers become intimate observers of their personal journeys and growth.

It’s the subtle nuances, the sparks of conflict, and the warmth of camaraderie that make characters relatable and memorable, and it is within these interactions that the pulse of the story beats, creating the emotional resonance that leaves a lasting imprint on the reader’s heart and mind.

Structuring the Description

Structuring the description is akin to the delicate architecture of a suspension bridge, where each word and phrase is a carefully placed cable, holding the reader’s imagination aloft.

It’s a blueprint for the mind, a strategic arrangement that takes readers by the hand and leads them on an immersive journey.

Like a skilled conductor leading a symphony, structuring description means orchestrating the crescendos and pauses, the ebbs and flows, creating a narrative rhythm that is both mesmerizing and captivating.

With an opening that’s a siren’s call, paragraphs that dance in harmony, and transitions that are seamless, the writer forges a path into the reader’s heart.

It’s a blend of art and science, a mosaic of details and context that turns the story into a vivid, living tapestry where readers can walk, breathe, and experience the narrative’s essence, leaving them forever enchanted by the power of a well-structured description.

Tips for Capturing the Train’s Essence

Capturing the train’s essence is like catching a fleeting whisper of history and adventure in a bottle. It’s about summoning the spirit of steel behemoths hurtling through time and space and weaving it into words.

To encapsulate the train’s soul, one must become an alchemist, mixing the heady aroma of locomotive steam, the rhythm of wheels on the tracks, and the echo of travelers’ stories into a literary elixir.

But remember, it’s not just about the clangor of machinery or the thrill of speed; it’s the subtle symphony of emotions, the nostalgia of long journeys, and the promise of new horizons that you must distill into your prose.

Tips for capturing the train’s essence are akin to following a treasure map to the heart of transportation, where each tip is a clue that unlocks the secrets of this timeless and magnificent journey.

So, breathe in the metallic tang of adventure, close your eyes, and let the tips be your guide on this wondrous literary expedition into the essence of the train.

Focusing on the unique

Focusing on the unique is the writer’s compass to uncharted storytelling territory, an expedition into the unexplored corners of imagination.

It’s about eschewing the trodden paths and seeking out the hidden gems that make a story exceptional. Whether it’s an eccentric character with peculiar quirks or a plot twist that defies convention, the unique elements infuse a narrative with freshness and intrigue.

These are the precious details that set a story apart, that make it a standout among a sea of tales. In literature, as in life, it’s the singular, the extraordinary, and the unrepeatable that captures our attention and leaves an indelible mark.

When a writer focuses on the unique, they beckon readers to a world of wonder, where the extraordinary becomes the ordinary, and the ordinary transforms into the extraordinary, making storytelling an exhilarating journey of discovery.

Engaging the Reader’s Emotions

Engaging the reader’s emotions is the storyteller’s alchemy, the art of weaving invisible threads between words and the human heart.

It’s the power to make readers laugh, cry, tremble with anticipation, or swell with empathy, all within the confines of a few pages.

Whether it’s a character’s triumph over adversity, a heartbreaking loss, or a moment of sheer joy, the writer holds the key to unlocking the reader’s deepest feelings.

The emotional journey in a story is a rollercoaster, each twist and turn orchestrated to elicit powerful responses. By igniting emotions, writers create a bridge between the imaginary realm and the reader’s own experiences, forging a connection that transcends the written word.

It’s in these emotional connections that stories take root in the reader’s soul, leaving an enduring impact, reminding us of the extraordinary power that words possess to touch, move, and inspire.

Frequently Asked Questions (FAQ) about How To Describe A Train In Writing

What’s the importance of describing a train in writing.

Describing a train in writing can help set the scene, create atmosphere, and engage the reader’s imagination. It’s essential for creating a vivid and immersive narrative or description.

What are some tips for making a train description more captivating?

To make a train description captivating, focus on sensory details, use vivid and descriptive language, and consider the perspective from which you’re describing the train.

Should I describe the inside or outside of the train in my writing?

The choice between describing the inside or outside of the train depends on your narrative’s context. You can do both or select the perspective that best serves your story or description.

What are some key elements to include when describing the exterior of a train?

Include details about the type of train, its size, locomotive, carriages, wheels, and any unique features. Mention its location and surroundings as well.

How can I describe the interior of a train effectively?

When describing the interior, focus on elements such as the design of the passenger or freight cars, windows, doors, passengers, and the ambiance. Capture any sensory experiences and emotions.

What’s the best way to convey the sounds associated with a train?

Use onomatopoeic words and descriptive language to convey the sounds, such as the engine’s roar, wheels clattering on the tracks, and the hiss of brakes.

How can I evoke the emotions associated with a train in my description?

To convey emotions, pay attention to the atmosphere around the train, the behavior of passengers or crew, and the surrounding environment. Use descriptive language to capture the mood and feelings.

Should I include historical or technical details about the train in my description?

It depends on your target audience and the purpose of your writing. Technical or historical details can add depth and context, but be mindful not to overwhelm the reader with excessive information.

How do I conclude a train description effectively?

Conclude by summarizing the main points and leaving the reader with a thought, feeling, or image related to the train. Create a sense of closure and completeness.

Can you provide examples of well-described trains in literature?

Some classic examples include the iconic Hogwarts Express from the Harry Potter series, the Orient Express in Agatha Christie’s novels, and the hauntingly described trains in Haruki Murakami’s works. Studying these can offer insights into effective train descriptions in literature.

Remember that the key to a compelling train description is creativity and the ability to transport the reader into the world you’re describing. Tailor your description to fit the context and purpose of your writing .

In conclusion, the art of describing a train in writing is an enchanting journey through words and worlds. Trains are not just vehicles; they are vessels of history, culture, and human connection.

Mastering the craft of vivid descriptions in train narratives allows us to capture the essence of these magnificent machines, the ambiance of their surroundings, and the emotional resonance they evoke.

Through the use of evocative language, meticulous research, and a keen eye for detail, writers can transform a simple train ride into an unforgettable literary experience.

As we conclude this exploration, we’re reminded that the power of storytelling lies in the ability to transport readers to places and moments they may never physically visit, and trains, with their timeless allure, offer a unique and compelling canvas for writers to create and readers to journey upon.

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Descriptive Writing: The train

In this blog post, we will explore the art of descriptive writing, focusing our lens on the mesmerising world of trains, and learn how to craft vivid and evocative descriptions that transport our readers to the tracks, where the wheels of imagination meet the steel of reality.

As the sun dipped below the horizon, the train emerged from the shroud of twilight, its metal behemoth illuminated by a cascade of golden, molten light. The locomotive, a colossal steed of industry, exhaled great plumes of smoke and steam, shrouding the platform in a misty veil, through which the world appeared in fragmented glimpses. The platform thrummed with a symphony of life and motion, a frenetic ballet of travelers, each with their own story etched upon their faces.

The train itself stood as a monument to progress, an intricate tapestry of rivets, pistons, and wheels. Its iron flanks bore the scars of countless journeys, a weathered testament to the unforgiving passage of time. As the whistle’s haunting cry pierced the air, the locomotive roared to life, its heartbeat reverberating through the very bones of those who stood witness.

Inside the train, passengers found themselves in a realm both familiar and otherworldly. The rhythmic clatter of wheels against tracks served as a hypnotic lullaby, an intricate melody composed by the hands of engineers and the whims of destiny. Carriages were a canvas of diverse humanity, a mosaic of characters woven together by the iron threads of their shared journey.

Beyond the windows, the landscape unfurled like a panoramic dreamscape. Moonlight spilled over vast, open fields, painting them in shades of silvery enchantment. Trees whispered secrets in the language of rustling leaves, while rivers carved pathways through the earth’s flesh, their waters glinting like liquid diamonds.

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Occasionally, the train passed through tunnels – moments of darkness, punctuated by fleeting glimpses of distant stars. These interludes became metaphors for life itself, moments of obscurity that heightened the appreciation for the radiant moments when the train burst forth into the open, revealing the world anew.

All the while, the train hurtled forward, an unstoppable force that bridged the chasm between departure and arrival. In this moving sanctuary, strangers shared smiles, stories, and stolen glances, connecting in fleeting yet profound ways.

As the night deepened and constellations danced above, the train became a vessel of dreams, a realm suspended between the realms of the ordinary and the extraordinary. The rhythmic pulse of its wheels, the symphony of its whistle, and the poetry of its passengers fused together, creating an intense atmosphere of journey, wonder, and the unyielding passage of time.

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How to Describe a Train in a Story

By Isobel Coughlan

Do characters in your novel take a train journey? If you want to illustrate this scene as vividly as possible, we’re here to help. In this post, we cover the topic of how to describe a train in a story.

Something that moves very quickly .

“The rapid train thundered down the tracks, leaving every passerby in shock. This was a sight no one would forget.”

“He needed a rapid train to make it to the interview on time, but the last express service had already departed.”

How it Adds Description

“Rapid” describes a train that moves very quickly or faster than others. If your characters describe the train as “rapid,” it could signal that they’re impressed by the speed. It can also hint that they need to get somewhere fast, especially if they’re looking for a “rapid” train. “Rapid” can also signal that your fictional world has modern technology that allows speedy journeys.

Something that’s old and has lots of value due to its rarity or beauty.

“The antique train rolled into the station, and the cameras started flashing. Such a beautiful locomotive hadn’t been on the tracks in decades.”

“She searched each train warehouse, but she couldn’t find the exact antique train needed for her project.”

If you want to include an old or vintage train in your story, “antique” can signal the age and condition of it. “Antique” implies the train is old and very valuable, which might make characters very interested in it. An “antique” train can also be used to show your reader a glimpse of your fictional world’s past.

Something not exciting or interesting.

“She boarded the dull train with a sigh. It was going to be a long and boring journey.”

“The train was dull at best. It has no personality, style, or features.”

The word “dull” signifies the train is not as exciting as other trains, which lets your reader know the characters aren’t interested in it. This could further show your characters aren’t particularly interested in trains or traveling in general.

4. Sluggish

Something that works or moves slower than others.

“The sluggish train took so long to arrive, many of the passengers had fallen asleep at the station.”

“I’m not getting on that sluggish train! Flying is much quicker.”

If you want to emphasize how slow your train travels, “sluggish” can give your reader a clear image. Also, if a character deems the train “sluggish,” it might hint that they don’t want to go on the long journey. “Sluggish” could also imply something’s wrong with the train, hence it’s not traveling at its usual fast speed.

Something that looks new and expensive .

“The sleek train was equipped with high-tech screens, a full-service bar, and a sauna.”

“She was drawn to the sleek train, and her secret wish was to travel across the country on it.”

“Sleek” implies that your fictional train is top-of-the-line, sophisticated, and expensive. Characters may aspire to travel on the “sleek” train to experience its luxury or to raise their social status. This could lead to some characters being obsessed with the “sleek” train, as they desperately want to experience it.

6. Gigantic

Something that’s extremely large in physical size.

“She gasped at the gigantic train. It was obvious she’d never seen a double-decker locomotive before.”

“The gigantic train could barely fit into the station.”

“Gigantic” shows the impressive size and scale of your fictional train. If a character thinks a train is “gigantic,” it can show they’re not used to traveling on large-scale public transport. “Gigantic” could also imply that the train is one of the largest in use, especially if many characters are shocked by its size.

7. Futuristic

Something that looks very unusual and modern .

“He curiously boarded the futuristic train. It felt like something out of a sci-fi film.”

“The futuristic train was groundbreaking. But it cost over $1000 for a single journey.”

The word “futuristic” shows that the train looks very modern or contains the latest technology. “Futuristic” trains might confuse your characters, as their design and features may be different from standard trains. “Futuristic” could also foreshadow technological innovations or tech-based plot points to come in your novel.

Something that’s not expensive or large.

“The modest train looked small in comparison to others, but it worked just as well.”

“He could only afford to travel on the modest train. However, this didn’t bother him one bit.”

The word “modest” hints that the train in question is more affordable and smaller than others. If your characters call a train “modest,” they might be unimpressed or unbothered about it. “Modest” could also signal that the train is older and there are newer and more expensive models.

9. Revolutionary

Something that changes the way something is made or done.

“Thousands gathered for the revolutionary train unveiling. The release was set to change locomotive history.”

“He took his seat on the revolutionary train and waited for the journey to begin. He could hardly contain his excitement.”

If you want to show your fictional train is new and groundbreaking, “revolutionary” is the adjective to use. This word signals that the train is a game changer. Characters attracted to a “revolutionary” train might be interested in progress and the future.

10. Stylish

Something fashionable and elegant in design.

“The stylish train was a fabulous affair. It had a multi-colored design, premium leather seats, and the latest decor inside.”

“He wished he was riding in the stylish train. But he could only afford to travel in the drab shipping container carriage.”

“Stylish” shows that your fictional train is very fashionable and thus might sport the latest designs and bright colors. If your characters are fans of the “stylish” train, they might also be very fashion-conscious and concerned with surface aesthetics. “Stylish” could also hint your fictional society is very advanced, as their transport is not basic or boring.

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GCSE Creative Writing: Using Trains and Railway Station( Bolton English Tuition)

• by Janet Lewison
• March 11, 2020 March 11, 2020

Ticket To Ride: Creative Writing Inspiration from Trains and Railway Stations.

The train plunged into a tunnel.

The calm, monotonous voice was drowned. At the next table, a small one, sat Colonel Arbuthnot—alone. His gaze was fixed upon the back of Mary Debenham’s head. They were not sitting together. Yet it could easily have been managed. Why? Perhaps, Poirot thought, Mary Debenham had demurred. A governess learns to be careful. Appearances are important. A girl with her living to get has to be discreet. His glance shifted to the other side of the carriage .

( Agatha Christie, Murder on the Orient Express )

Exercise One.

• Make a note of as many novels, stories, poems, plays and films involving trains or railway stations.
• Consider the mood of each and how the setting affects the ‘story’ of each text.  

Exercise Two .

It was clear that the sleigh from Weymore had not come; and the shivering young traveller from Boston, who had counted on jumping into it when he left the train at Northridge Junction, found himself standing alone on the open platform, exposed to the full assault of night-fall and winter . ( Edith Wharton, The Triumph of the Night).

You are going to create a story around a railway station. The station can be real or imagined, modern or more ancient. Names are evocative and help propel your story’s mood and sense of purpose and adventure.

• What is your station called?
• Make some notes on the appearance and situation of the station as well as the type of facilities offered.
• Waiting rooms are useful for encounters or reflection.

Exercise Three.

Read these extracts for possible railway inspiration.  Make notes on their effects.

“Stand clear, sir, if you please. One. Two. Right!”

Lamp waved. Signal lights ahead already changing. Shriek from engine. Train gone.

 “Mugby Junction!” said the traveller, pulling up the woollen muffler round his throat with both hands. “At past three o’clock of a tempestuous morning! So!” He spoke to himself. There was no one else to speak to. Perhaps, though there had been any one else to speak to, he would have preferred to speak to himself. Speaking to himself he spoke to a man within five years of fifty either way, who had turned grey too soon, like a neglected fire; a man of pondering habit, brooding carriage of the head, and suppressed internal voice; a man with many indications on him of having been much alone.

 He stood unnoticed on the dreary platform, except by the rain and by the wind. Those two vigilant assailants made a rush at him.

 “Very well,” said he, yielding. “It signifies nothing to me to what quarter I turn my face.”

Thus, at Mugby Junction, at past three o’clock of a tempestuous morning, the traveller went where the weather drove him. (Dickens, Mugby Junction)

That Whitsun, I was late getting away:

    Not till about

One-twenty on the sunlit Saturday

Did my three-quarters-empty train pull out,

All windows down, all cushions hot, all sense   

Of being in a hurry gone. We ran

Behind the backs of houses, crossed a street

Of blinding windscreens, smelt the fish-dock; thence   

The river’s level drifting breadth began,

Where sky and Lincolnshire and water meet.

 ( Larkin, Whitsun Weddings )

The apparition of these faces in the crowd:

Petals on a wet, black bough.

(Ezra Pound, In the Station of the Metro)

Yes. I remember Adlestrop—

The name, because one afternoon

Of heat the express-train drew up there

Unwontedly. It was late June.

The steam hissed. Someone cleared his throat.

No one left and no one came

On the bare platform. What I saw

Was Adlestrop—only the name

(Edward Thomas, Adlestrop )

Light spreads darkly downwards from the high Clusters of lights over empty chairs That face each other, coloured differently. Through open doors, the dining-room declares A larger loneliness of knives and glass And silence laid like carpet. A porter reads An unsold evening paper. Hours pass, And all the salesmen have gone back to Leeds, Leaving full ashtrays in the Conference Room. In shoeless corridors, the lights burn. How Isolated, like a fort, it is – The headed paper, made for writing home (If home existed) letters of exile: Now Night comes on. Waves fold behind villages.

( Larkin , Friday Night at the Royal Station Hotel )

2 thoughts on “GCSE Creative Writing: Using Trains and Railway Station( Bolton English Tuition)”

Funny – I stumbled on your blog whilst looking for an image for Dicken’s The Signalman. And look – you are still blogging – and your latest blog is on the topic of trains. “Halloa, below there!”

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• > Writing Prompt Story Starter: Trains

Writing Prompt Story Starter: Trains

While I’m working from home, I’ll occasionally hear a train in the distance, sounding its horn as it passes through our little station . . . and I’ll feel a Story Starter coming on!

Every time I hear it, it reminds me how much I’m looking forward to the day when we can travel freely again. And every passing day is one day closer.

In the big picture of what people are going through at the moment, not being able to travel is not even a ‘thing’, but travelling by train again is definitely something to look forward to.

The inspiration

Railways, and train stations, have been popular in stories since there have been railways! I’m thinking of “The Railway Children”, “Brief Encounter”, and if you’ve read the Harry Potter books, you’ll know the Hogwarts Express and Platform 9 ¾.

Bringing people together. Travel. Going on a journey.

The first steam trains. The ‘iron horse’. Puffing Billy and Stephenson’s ‘Rocket’. The Flying Scotsman, 4472.

The Victorians, and their spirit of enterprise. Building the railway bridges, and stations .

The Orient Express. Luxury travel. Second class. And third!

Trips on the train. The ‘sleeper’. The underground – in Glasgow, the Subway .

Tickets, please! Railcards. Commuting.

Train station cafes. The buffet car.

Little stations. Level crossings. Dr Beeching . London stations – for us arriving from the east coast of Scotland, it’s usually Kings Cross.

Train journeys in other parts of the world. Transcontinental; coast to coast.

A journey to dream about

I saw a lovely programme on ‘catch-up’ this week – The World’s Most Scenic Railway Journeys – all about a train journey through the south-east of Sicily.

At the moment, all non-essential travel is off-limits, but it’s nice to have a journey to dream about/plan for/start a savings jar for, once all this is over, wherever our journeys might take us.

Good luck with your writing this week.

Click here to pick out another Story Starter from Fiction Ed Lucy’s archives.

• Story Starter

Lucy Crichton

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Descriptive writing: busy and empty train station

Here I am again. The same too small, compact cattle truck. The same horde of half awake, half dead creatures in ties and rough jacket arm in my face as its wearer reads a ‘daily times’ that needed a small rainforest to construct. The same squeak of shoes on the paving slabs, the same slurps of coffee and crunch of breakfast burgers it killed your stomach for you to walk past because the part of your brain that drags you through it all knows the queues are too long. The man in the middle of the train with both arms up on the railings hasn’t showered again. Whether he forgets, or has sacrificed his social life for some elbowroom, is puzzling. The ‘times’ man turns another page that seems even wider than the previous. He’s one of those stuck-up, senior employees’ guys with his large watch, new laptop and self-motivated air. If I make any attempt to get his sleeve out of my mouth, he will turn out to be a billionaire’s spoilt brat and I’ll never work in London again. If I make no movement, he will be a contractor from Scotland who has no effect on me what so ever and I will never see him again.

Sorry, that’s paranoia. It’s the claustrophobia acting up. Seriously, its like being at a million tickets sold out rock concert in a portable loo. Bending down is impossible. I don’t dare get my mobile out incase I drop it and never see it again. The leather shoes on the floor seem to have been compressed into thick, black soup, with only shiny steel buckles indicating that your feet have not just floated away. The heat is intolerable. Each neck colour was a volcano of sweat, the neat from their bodies matching the eruption.

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Suddenly the eternal rattling is outdone by the screeching as the graphite baked bean tin with wheels throws us all forward. The screen above our heads flickers then starts again with the aggravating, female commenty of the event quickly following. A final shudder and we’ve landed. The ‘times’ paper closes, BO man’s arms relax, I spit out pieces of jacket, and we all stagger to our feet, not least to man at the front of the train who was crushed under the human mass as the train braked. When the doors open it like blowing a hole in a dam and the water bursts forth. Its every man for himself and last one at work gets a rotten resume, to resist is to be trampled.

I watch stragglers as I pass them. A present co-worker who takes her time should she break water there and then. Stay at home. Beggars who lay on the ground just ‘begging’ to be kicked by laying on the floor in front of us. The secretaries who can afford to be late, who can’t type but are employed for the same reason as an executive stress ball.

Noise is everywhere. Everyone is everywhere. We just want to get out. A beast with hard, plastic wings eats and defecates my ticket and lets me through. The lights at the end of the tunnel. I’m free.

I surprise I should be grateful to my boss for making me late home for that executive meeting. This could mean promotion. The tie, forward slash, noose I put around my own neck won’t be loosened, just more expensive.

I’m back at the train station 2 hours later than usual and, oh my God, it’s amazing, there’s no one here. It’s quiet, but not too quiet. No chatting, no ringtones, no shoes, just quiet. I want to shout with surprise and exhilaration, but I don’t, should the spell be broken. I don’t need to Que. for a ticket from the now bored salesman. Its erry. The sounds of my shoes form a lonely echo around the tunnels and chambers leading to the railway. Even the tramps gone. So many firsts. Have the tunnels always been this wide? Are these benches? When did they get here? Have these walls always been white? God, I’m in shock.

Birds that would have been raised to the ground this morning happily peck at crumbs on the floor. It’s so peaceful. Which is good, I need a rest, how can you get tired at a desk job? Ha. It’s cold though, 100 degrees difference to this morning. A women is sitting on a bench on the otherside of the track, reading. I can actually hear her turn the page. The clunk, clunk, clunk arrives soon enough. Forgive me leaping so far ahead but there is literally nothing else to say. I jump up to get the best seats before the crowd, and then banged myself on the head in exasperation and amusement, and then exasperation again as I see the woman looking at me with a ‘what the hell’ look just before the train drives between us. It’s Friday night, so the expected clubers get off the train. How different they dress from before, not a tie among them. There seem to be a lot more women, or maybe they’re just a lot more notice able as women dressed like that are. They chatter and joke as they walk past me, again so different. The variety of colours lifts their spirits from the dull grey of work.

I climb aboard and choose, choose, a seat. The mixture of shiny and dirty metal decorated in designer graphite is my only view. The train won’t leave for a while yet, what should I do? Sleep. Get some sleep. This is nice, I like this. Here I am again.

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Creative Writing:Train Journey

Subject: English

Age range: 14-16

Resource type: Lesson (complete)

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This is a fully differentiated lesson looking at how to approach the stimulus creative writing question (Q5) for English Language: Explorations in Creative Reading and Writing.

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TRAIN STATION

Never struggle with Show-and-Tell again. Activate your free trial or subscribe to view the Setting Thesaurus in its entirety, or visit the Table of Contents to explore unlocked entries.

HELPFUL TIP:

Textures and sensations:, possible sources of conflict:, people commonly found in this setting:, setting notes and tips:, related settings that may tie in with this one:, setting description example:, techniques and devices used:, descriptive effects:.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Thesaurus Entry: Subway Station

December 20, 2008 by BECCA PUGLISI

subway trains, subway platforms, posts, escalators, stairs, posters, security guards, business men and women, couples, groups of young people, tracks, litter, lights, graffiti’d walls, speakers, ticket turnstiles, patched seats, torn seats, grime, dirt, street people…

bells signalling the door is closing/train is arriving/leaving, station prompt on loudspeaker, people talking, coughing, laughing, music from ipods, static from security/police walkies, the whoosh of the train arriving or leaving, the whirr of the …

dirt, musty fabric, urine, cologne, perfume, sweat, bad breath, the smell of newsprint, ‘canned’ air conditioned air, hair products, BO, breath mints, people who smell like cigarette smoke or pot, coffee, hot dogs

Food or drinks from vending machines (pop, water, chips, chocolate bars, coffee, granola bars, etc), gum, breath mints, chewing tobacco

Cold metal handrails and turnstiles, too-hard plastic seats, worn plastic ceiling hand loops, dry newsprint, smooth paper ticket (people generally avoid touching/holding anything on the subway), holding a hot cup of coffee or cold drink, slathering on hand sanitizer…

Helpful hints:

–The words you choose can convey atmosphere and mood.

Example 1: The smeared plastic door shuddered open and the odor of urine washed over me. I took a peek inside and saw only one occupant–a man lying across the plastic bench, his layers of tattered clothing bulking up a sickly frame. An empty Jack Daniel’s bottle clutched in his grimy fist, explaining how he could sleep through the too-loud station prompt on the speakers. Grimacing, I stepped back. I’d wait for the next train…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: ( Metaphor)  I clutched the handrail and prayed for my stop to come. The electricity was erratic in my shuddering car, buzzing on and off, reducing my unsavory fellow riders to infrequent flickers. As the dark took hold yet again, I thought of a carnival fun house moving at lightning speed, one where the knife wielding psycho might be real…

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers —a powerhouse online library created to help writers elevate their storytelling.

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Reader Interactions

December 23, 2008 at 11:14 am

I watched some little boys break dance on the subway once…it was pretty amazing.

December 22, 2008 at 1:53 pm

Becca, ewww. I’ve been wondering about the whole armpit deal, but I never imagine it was a she-pit. Poor Al!

Shana, thanks for giving us your experiences. Here in Calgary we have a train system, but it’s pretty tame compared to the NYC lines. Those rules for riding are very valuable to make the writing authentic.

December 22, 2008 at 11:40 am

I’ve had my share of stories similar to yours, Becca. It’s worse for me because even if I am standing, I am shorter than most passengers. I can’t even reach the highest handrail. And I’ve learned to hold my nose when walking through the platforms earlier in the morning to avoid the homeless stench I will inevitably find.

I have worse stories of crowded subways, one that had me crying and distraught by the time I got to work.

In defense of NYC though, not all subways or passengers are like that. The 6 train is usually clean and delightful. My path train from NJ into the city is always safe, even if you ride alone late at night. If you live here, you get to know which lines are worse than others and which to avoid. For example, I will avoid the E train at all costs, but the V which runs on the same line for some stops is awesome.

I do have rules to follow though. -Never make eye contact -Keep your headphones on so people know not to speak with you -Don’t touch the railings with your bare hands, and if you do, wash them after riding. Seriously. -Don’t stand too close to the platform edge, there are some crazy people out there and too many stories of innocents being pushed to ignore -Don’t go into an empty car (if it’s not the first stop on the line). There’s usually a reason it’s empty, and you don’t want to be caught in there alone if someone less than desireable enters

If I think of more, I will post it.

December 21, 2008 at 9:19 pm

How could we have forgotten the rats???

As for the story, we were in New York on our honeymoon. The train was really crowded, but we were able to cram together on the seat rather than standing. It seemed like a great arrangement until a rather large woman grabbed the nearest hand-rail, which happened to be just above Al’s head. His face was pretty much in her armpit, which hadn’t been shaved in quite some time. He was trying to figure out how to extricate himself from the situation without breathing and without getting us both killed–you know how it is in New York. I was no help, since I had already pretty much fallen off my seat laughing.

It was shocking, how many NYC subway stereotypes were proven true on that day…

December 21, 2008 at 3:20 pm

Yes, NYC is full of many goodies that other cities don’t have. Don’t be too jealous of our rat population, now.

Good things do come of rats in subways. For example, KIKI STRIKE by Kristen Miller would have lacked some very cool showdowns if rats stayed away from underground tunnels.

December 21, 2008 at 10:18 am

Shana–Rats! Yikes, you’re right. Luckily, rats don’t live up here in my corner of Canada.

Thanks PJ–glad it helps!

December 21, 2008 at 12:36 am

Great (and useful) location! I have a subway station in one of my WIPs! Thanks!

December 20, 2008 at 11:29 pm

You forgot the rats! Often while I’m waiting on the platform, a bit of movement on the track will catch my eye, and yep. Rat.

I have worse stories than this that I will refrain from sharing. Just don’t go in the subway at night, that’s all I’m saying.

December 20, 2008 at 5:45 pm

Thanks Marian. I feel so bad for the homeless this time of year, especially with the freezing temperatures we’ve been having. I hope they’ve made it into a shelter…

Becca, no WAY are we letting you off the hook without spilling that story!

*taps foot*

December 20, 2008 at 3:55 pm

I have a really funny subway story that involves my husband, a really hairy armpit, and the worst b.o. EVER. Lol.

Husband didn’t think it was funny, but it totally was…

December 20, 2008 at 11:26 am

“crazy people talking to themselves or ranting at the crowds”

Or begging for money. I always feel guilty when they do that – especially this one homeless woman who wasn’t even wearing shoes.

And the #1 type of paper litter after newspapers seems to be religious pamphlets. I see those a lot on subways in Toronto.

Thanks for the post!

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19,890 quotes, descriptions and writing prompts, 4,964 themes

subway station - quotes and descriptions to inspire creative writing

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One platinum carriage after another rolls in, doors all set to open and inhale platform. Life is anything but stationary once the subway is entered.

The subway station could do with a bit more art, a bit more flair, anything to lift the spirits of the travellers.

The subway station was alive with the sound of a spirited violin.

The subway station exists as a microcosm of every waiting room in the world, take away the walls, the track, the metal benches and it could be any wait for anything anywhere anyplace.

If the subway were the arteries of the city, the stations were its lungs, the wide doors breathing us in and out.

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Essay on Railway Station

500 words essay on  railway station.

A railway station is a facility that has railway tracks or lines for trains to carry passengers or goods from one place to another. There are different kinds of railways stations, some are above ground while some are underground as well. You will always see interesting sights on railways stations as they are full of life and activities.

A Typical Day at the Railway Station

A typical day at the railway station is full of exciting activities and sights. You will find the stations crowded with autos, taxis, cars, buses, rickshaws, and more. Similarly, there is a lot of commotion there.

People are present in large crowds there. Some have come to drop off someone while others are waiting for passengers to arrive. The coolies and porters keep eyeing you to carry your luggage for you so they can earn well.

Another interesting sight and sound are that of people quarrelling and bargaining. One of the most relaxing sights is that of the brick and mortar shops selling books and newspapers . You will see people peacefully reading them in a corner.

There are also food stalls, canteens, and street vendors that sell delicious food items and snacks to passengers. They shout out to attract people and sell their items. There are vendors who roam around with their items to sell them.

The waiting rooms, ticketing booths and even restrooms are often crowded at the railway station too. The people sit on the cemented benches or their own suitcases while they wait for the train to arrive.

People sleeping on bed sheets or mats on the floor is not a rare sight. Not just passengers but people who are homeless or poor also sleep at the railway station. As a result, a lot of addicts lurk on empty tracks or isolated corners.

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Main Highlight of a Railway Station

The main highlight has to be when the train is arriving at the railway station. You will see people getting excited and waiting impatiently to board the train. They stand at the platform while waiting for the train to arrive.

On the other hand, the ones who have to deboard the train are eagerly standing at the gates of the train to get down quickly. There is a lot of commotion at this time as the ones who have to board and others who have to deboard, both do it at the same time.

There is no order to let the other one pass first. Thus, chaos and confusion take place at this time. People rush to their seats while the ones exiting want to get down as soon as possible.

There are many pickpockets as well that wait for this time to do their job. Often, people get hurt as well in all this commotion. However, despite all the commotion, it is wholesome to see friends and relatives receive and welcome their loved ones.

To sum it up, the railway station is an interesting place that is bustling with excitement and activities. We get to witness so many wholesome scenes and watch people in a hurry. It is an experience in itself to visit the railway station.

FAQ on Essay on Railway Station

Question 1: What is the importance of a railway station?

Answer 1: The railway stations are important as they are a cheap mode of transport in comparison to other modes of transport. Similarly, they also help you reach the destination in lesser time. The prices are fixed and so are the routes making it easier for passengers.

Question 2: Why is the railway called national transport?

Answer 2: Railways are the national transportation as they have the widest network in India. Moreover, they are also vital for transporting coal, iron, steel, etc.

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Transport in Zvenigorod

Zvenigorod is located in 50km from Moscow and has very good transport connection with Moscow. 

   Zvenigorod Railway Station

Zvenigorod Railway Station is located far from the city centre. To get to the centre from the railway station, take bus No. 23 or No. 51. Or take a taxi - it cannot cost more that RUB250. 

  Zvenigorod Bus Station

There is no bus station in Zvenigorod and buses from Moscow terminate in the city centre at what is known as the Mayakovsky Quarter bus stop, stopping at Ulitsa Proletarskaya on the way there.

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Australian artist Patricia Piccinini tells Virginia Trioli about her conservationist's heart on Creative Types

Patricia Piccinini stands before her monumental work of springtime-coloured panels at the entrance to Melbourne's new underground train station at Parkville, and regards the piece with the same affectionate and maternal eye she has for all her creatures.

It's called Vernal Glade, and is comprised of more than 500 handmade and individually fired and coloured tiles of Japanese clay. The work is now permanently installed on the entrance wall — a warm greeting to the traveller as they descend into the station, which will open to the public next year.

"I imagined what commuters would like is this immersion in the energy of this colour field," Piccinini explains.

"The energy of these colours is really calming and soothing and replenishing. They're these beautiful verdant greens and yellows and pinks that represent new life on trees of new fruit. And I just thought this would be something that they could feel good about and then go on their way."

Goodness is at the heart of Piccinini's more-than-30-year practice, which has seen her produce works that are both much-loved and sometimes quite divisive.

She is the mother of Skywhale  and of major pieces including the celebrated Kindred and Big Mother – creatures that are an unnerving combination of human, animal and a possible medical future that seems all too close.

Piccinini calls her creations "chimeras", drawing from the ancient Greek concept of mythical hybrids that are part human, part animal. But her creatures, often nursing mothers or brooding parents, are always presented as caring, benign, good: Unlike Frankenstein's monster,  Piccinini's creations are never a threat .

"Frankenstein didn't love his monster, and that's why he came back and wreaked havoc and killed everyone," says Piccinini.

"I want people to love my creation. I want them to empathise with her, to be compassionate, and ultimately that could lead to care for her and her situation and ultimately the situation in the real world."

In a new episode of Creative Types, Piccinini takes me through the history and elaborate creation process of her work, much of which is, at any one time, on exhibition at various galleries and museums around the world.

Piccinini's project is driven by a paradoxical fascination with both the frontiers of science and its potential and a fear for what our use of the world has meant for nature and its animal residents.

She has a conservationist's heart in the body of an optimistic scientist.

"When I make my work, I'm actually not trying to critique innovation in technology in a negative way," she says.

"I'm interested in what this innovation means to us. I know it will bring good things. I wanted it and still want it for other families and indeed my own family."

Piccinini's interests in science and art emerged at around the age of 13, when her mother was diagnosed with stomach cancer that moved into her pancreas. Piccinini's mother was given a dire prognosis, and her daughter's mission was born.

"I understand what it's like to be at the mercy of technology. I would've done anything—my whole family would've sold their house, done anything to get a replacement organ," she explains.

"I was just waiting for a technology that could put an end to this cancer story that could eradicate those cells, put her out of her misery, let us be carefree and live as a normal family."

In the end, science failed her, and Piccinini's mother died 13 years after her diagnosis. By that time, technology and its use in DNA research, cloning and genetic innovation had claimed Piccinini's attention.

Her work sprang from the imaginative place that could see a future, albeit an anxious one, from these brave new worlds.

"All these works … are from a different world, but it's a world that has a proximity to ours, in that they have to be conceivable. They have to have the potential that we could create them. That's why they have a lot of humanness in them as well … we need to be able to relate to them," Piccinini says.

Fascinatingly, Piccinini's work is hugely popular with younger Australians in particular: She is on school curricula and enjoys an Instagram following of more than 110,000 – almost ten times more than some mainstream media outlets. Younger people here and overseas, where Piccinini enjoys huge popularity, just get her. But why?

"Because I'm talking about their world," she says.

"This is the world they inhabit, where the distinction between the natural and the artificial is not so important: It's blending already and in good ways.

"We see that in the blending of gender, and that's been a wonderful happening. But also, in other ways with AI. And they're not afraid of it."

Watch Patricia Piccinini on Creative Types with Virginia Trioli on ABC TV and ABC iview on Tuesday May 14.

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