creative writing describing anxiety

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

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

Here is how to describe nervousness in writing:

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

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

23 Best Tips for Describing Nervousness in Writing

Table of Contents

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

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

1) Demonstrate, Don’t Describe

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

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

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

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

2) Use Body Language

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

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

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

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

3) Incorporate Inner Monologue

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

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

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

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

4) Employ Facial Expressions

Facial expressions are highly expressive indicators of emotion.

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

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

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

5) Manipulate Pace and Sentence Structure

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

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

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

6) Use Metaphors and Similes

Metaphors and similes can also be instrumental in conveying nervousness.

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

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

7) Utilize Dialogue and Tone

Dialogue can also be a potent tool for conveying nervousness.

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

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

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

8) Leverage Environmental Interaction

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

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

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

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

9) Use Sensory Descriptions

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

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

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

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

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

10) Incorporate Thought-Action Sequences

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

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

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

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

11) Use Repetitive Actions or Tics

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

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

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

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

12) Play with Syntax and Grammar

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

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

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

13) Utilize Flashbacks or Imagery

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

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

It provides context and depth, making the emotion multidimensional.

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

14) Exaggerate for Effect (Hyperbole)

Sometimes a little exaggeration can drive the point home effectively.

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

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

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

15) Punctuate with Silence

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

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

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

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

16) Use Dialogue Tags and Modifiers

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

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

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

17) Add Color to Breathing and Voice

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

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

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

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

18) Describe the Passing of Time

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

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

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

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

19) Break It with Humor

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

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

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

20) Employ Foreshadowing

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

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

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

21) Bring it Full Circle (Callback)

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

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

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

22) Layered Emotions

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

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

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

23) Blend Multiple Techniques

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

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

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

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

30 Words to Describe Nervousness in Writing

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

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

Here are 30 words you can use to describe nervousness:

• Apprehensive

30 Phrases to Describe Nervousness in Writing

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

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

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

3 Full Descriptions of Nervousness in Different Genres

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

You’ll read about nervous characters in:

Science Fiction

Mystery/thriller.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Thoughts: How to Describe Nervousness in Writing

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

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

Related Posts:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

21. Submitted by  Lucy Hackett

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

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

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

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

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

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

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

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

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

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

32. Submitted by Maree M.

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

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

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

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

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

Former Mighty editor // Current MSW student // In love with helping people tell their stories

Crafting Authentic Anxiety Descriptions in Writing: A Comprehensive Guide

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

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

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

Understanding Anxiety

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

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

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

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

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

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

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

The Complexity of Emotions

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

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

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

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

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

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

Conveying Anxiety through Words

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

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

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

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

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

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

Using Vivid Descriptions

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

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

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

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

Creating an Emotional Connection

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

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

Make it Personal

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

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

Show, Don’t Tell

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

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

Highlight the Contrast

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

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

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

Frequently Asked Questions

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

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

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

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

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

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

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

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

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

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

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Fearful Whispers: Crafting Descriptions of Fear in Creative Writing

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

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

– Understanding the Power of Fear in Creative Writing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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anxiety - quotes and descriptions to inspire creative writing

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

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

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

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

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

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

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

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

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

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

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

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

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

What is writing anxiety?

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

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

What is the opposite of writing anxiety?

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

What causes writing anxiety?

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

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

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

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

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

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

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

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

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

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

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

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

How do you recommend writers work with writing anxiety?

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

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

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

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

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

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

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

Overcome Writing Anxiety: Boost Your Storytelling Confidence in Four Short Weeks!

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

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

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

Frederick Meyer

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Writing Anxiety

What this handout is about.

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

What are writing anxiety and writer’s block?

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

When do these negative feelings arise?

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

For example, you may struggle when you are:

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

What are some strategies for handling these feelings?

Get support.

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

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

Identify your strengths

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

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

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

Recognize that writing is a complex process

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

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

Think of yourself as an apprentice.

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

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

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

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

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

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

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

Try new tactics when you get stuck

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

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

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

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

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

Celebrate your successes

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

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

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

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

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

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

Works consulted

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

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

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

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

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

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

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Writing Anxiety: How to Describe Anxiety in Writing

By Happy Sharer

Introduction

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

Use Vivid Imagery to Evoke a Sense of Unease and Fear

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

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

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

Show Physical Symptoms of Anxiety

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

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

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

Include Dialogue that Highlights Anxious Thoughts

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

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

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

Describe the Inner Monologue of Characters

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

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

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

Paint a Picture of the Environment

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

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

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

Explore Psychological Effects of Anxiety

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

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

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

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

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

(Note: Is this article not meeting your expectations? Do you have knowledge or insights to share? Unlock new opportunities and expand your reach by joining our authors team. Click Registration to join us and share your expertise with our readers.)

Hi, I'm Happy Sharer and I love sharing interesting and useful knowledge with others. I have a passion for learning and enjoy explaining complex concepts in a simple way.

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

Posted on 06.09.21 by Brittany Capozzi

Photo by Kaotaru on Unsplash

Getting Out of My Own Way

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

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

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

Getting Creative

Here are some creative writing exercises that I do:

Make a Worry List

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

Write Down Random Words

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

Write Down Things You Love

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

Don’t Worry, Laugh

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

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

So, get writing to stay healthy. No judgment!

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Master List of Actions That Show Fear

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

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

Action is character.

And I think about this all the time.

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

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

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

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

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

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

bite your nails

make nervous, sarcastic jokes

clutch your chest

cover your eyes or mouth

freeze in place

repeatedly look over your shoulder

scan a crowd for signs of a threat

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

stay up all night, unable to sleep

leave the lights on all night

refuse to be alone

call the police

call a friend

ask someone else or a group for protection

be extra friendly to people who might defend you

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

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

keep your head down

plead with the threatening person

bargain with the threatening person

threaten the threatening person

criticize the threatening person to others

back slowly away

pull the blankets over your head

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

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

hide behind someone else

ask someone else for a place to hide

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

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

put off work

refuse to start a new project

refuse to speak

snap at loved ones—or strangers

refuse to answer the door

open the door only a crack to see who it is

refuse to answer phone calls or texts

lock all the doors—and check the locks

changing the locks

changing passwords

close the blinds—and peer through the blinds

board up the windows

put up a tall fence

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

hide and/or lock up valuables

install a security system

hire a bodyguard

adopt a big dog

change passwords

lock down or delete social media accounts

delete emails or email accounts

document someone’s actions

destroy documents or other evidence

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

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

save more money

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

buy pepper spray

stockpile guns and ammunition

take vitamins

get vaccines

get a medical test or screening

try experimental drugs and unproven treatments

hoard food, water, medical supplies, and toiletries

rehearse an escape plan or a crisis response

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

grab a makeshift weapon

put on a bulletproof vest or chain mail

train to fight

take survival training

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

make a will

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

physically attack the threatening person

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

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

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

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

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

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

Very useful list. Thank you so much!

Thanks for reading, Naomi!

Great list! Thanks!

Thanks, Judith! Glad you liked it 🙂

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

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

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

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

Thank you!!!

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Writing Anxiety: Why Does Writing Sometimes Make You Anxious (And How to Overcome It)​

by J. D. Edwin | 2 comments

Have you ever felt a rush of writing anxiety when trying to write your story? Do you often label this writer's block before letting it take over? Has writing anxiety made you feel like you're a poor writer, and then it tricked you into giving up?

Here are four common problems that feed writing anxiety and tips on how to overcome them.

Tons of writers, even professional writers, suffer from writing anxiety on a daily basis no matter their experiences with writing.

Whether you view this as resistance or low self-esteem, writing anxiety can prevent you from finishing that beautiful, unique story that only you can tell.

We've All Suffered From Writing Anxiety at Some Point

I'll admit writing anxiety has stalled a lot of my writing. The negative feelings are unwelcome, but sometimes impossible to ignore.

I can't count the number of stories I didn’t write to conclusion, or the half-formed novel ideas that I started and abandoned because I grew too anxious to continue writing.

I’ve abandoned ideas in the first sentence, the first chapter, the first ten thousand words. I have a book that’s sitting on my computer at sixty thousand or so words. It's filled with scene after scene, and all of them building to a brilliant climax I've never managed to jot down. Mainly because I've allowed writing anxiety to freeze me right before the finish line.

A lot of this anxiety comes from perfectionism—we, as writers, desperately long to deliver a perfect book.

I know I have. I've been flustered over my first drafts.

I've dreamed of that magic last page, but found myself unable to finish.

I used to tell myself things like, “I need to work out those rusty sentences weighing this version down before writing the final showdown,” or “Maybe I need to go back to the first act and fix that before I can write this .”

It's exhausting.

But it's not an uncommon problem.

The thought of delivering anything less than perfect to our beta readers (and eventually next readers) keeps us from either 1) not finishing our stories at all, or 2) too anxious to share our stories once they're complete.

I know this because I've done it.

Writing anxiety may be stopping you from making progress on your writing projects, but it's something we can overcome.

4 Sources of Writing Anxiety (And How to Overcome Them)

In recent years, I’ve recognized four major problems that cause my fear of writing —which has allowed me to discover and practice better habits that have proven successful at pushing me to finish my story.

There are many reasons for a writer to be afraid of finishing a story, especially those new to writing. But when we understand what's holding us back, we can become mindful and prevent fear from manipulating us in the writing process.

Let’s take a look at the four most common reasons we experience writing anxiety. Better yet, lets explore ways to overcome it.

Problem 1: The Story Is Too Long

It’s easy to feel like a story is so massive and complicated that you will never be able to do it justice.

Most ideas spark from a novel premise or a vision of a story's climax. This excites the writer, but then the hard work begins and writing anxiety sets in when trying to build the structure supporting that idea or leading up to that finale moment.

Big ideas can be very overwhelming, especially if you’re just starting to write.

Do we all dream of writing a franchise masterwork like the Harry Potter series? Of course! Who wouldn't get a thrill from mastering J.K. Rowling's writing process ?

But complicated books, especially epic fantasy series, take years to plot out. This might be the direction you want to go—that's fine if it is! But if it's not, cut yourself a break.

If you're writing a book , especially your first, the goal should be to deliver a story readers will enjoy—and enjoy isn't synonymous for perfect.

Here's an important truth: if readers like your first book, they will come back for more expecting you to grow as a writer. Writing is a life-long learning process.

Hopefully when you understand this, you can give yourself a break. You can take that BIG idea and learn how to break it up into scenes that can make fiction (or nonfiction) writing easy.

In fact, the fourth step in Joe Bunting's How to Write a Novel article is to set smaller deadlines that build to your big deadline (of finishing a book).

You can apply this same mindset when planning or writing your BIG story idea. Start small, and then build to the ultimate climax.

Solution 1: Start Small

Think of a story idea and tell it in less than a thousand words. Try writing this in three paragraphs that outline the Beginning, Middle, and End in one to two sentences each. Maybe use your premise to kickstart the summarizing of each book part.

Quality doesn’t matter here—the goal is to tell an entire story, beginning to end, within the word limit.

Quality can come in later drafts, after you get used to the feeling of writing small, which might also do wonders for your writing confidence.

Problem 2: You Get Stuck in Story Structure

“Write a book” sounds easy, but when you delve into it, you realize there’s so much more to it.

Inciting incident ? Climax ? Hero's Journey ? Characterization ? There’s so much that goes into planning and writing a book, and stopping to think about just how much can easily give most writers moments of intense anxiety.

If you’re trying to tackle an impossible bestseller book checklist, you might come to a fierce halt, probably trapped in paralysis by analysis, obsessing over details that just don't matter on your first go.

It's enough to cause an anxiety epidemic that eventually tempts you to give up.

This is the exact reason my book stalled for eight years.

And while the faithful advice to keep going can grow weary—sometimes maybe even feel useless—the reality is that you can't edit anything that isn't written down.

Solution 2: Practice

This is simple in theory but difficult in principle. However, like anything, practice makes perfect, and the more stories you write, the more things you will realize becomes second nature.

You don't have to master story structure to use it to get a draft down, but a quick structure outline (even if it's only six sentences!) can help you write to the end. And the more you practice, the more comfortable you'll get with story structure.

6 Key Moments of Story Structure

There are six required moments in every story, scene, and act. They are:

• Exposition : Introducing the world and the characters.
• Inciting incident : There’s a problem.
• Rising Action/Progressive complications : The problem gets worse.
• Dilemma : The problem gets so bad that the character has no choice but to deal with it. Usually this happens off screen.
• Climax : The character makes their choice and the climax is the action that follows.
• Denouement : The problem is resolved (for now at least).

If you're unfamiliar with these terms, I recommend studying each of them, especially dilemma. Practicing these will be a huge aid to your writing process.

For your first few scenes, try plotting out each of these six moments, focusing especially on the dilemma.

Better yet, download our story structure worksheet to guide you through the story structure process, from crafting your initial idea through to writing the synopsis.

Messy drafts are the makings of good writers because they are time spent developing your craft.

To relieve yourself of perfectionist pressure, make that first book your “practice book,” or try writing a short story or novella before tackling a 90,000 word manuscript.

That practice book may be a complete mess, but if you stick to it, you will ingrain many of the skills needed to become a great writer. This will carry you far beyond one story. And you'll only get better at telling them!

Problem 3: Leaving Your Story Alone for Too Long

I used to believe that writing a book takes years.

It’s such a daunting project, after all. So big, so many details. But the more I wrote, the more I realized, it doesn’t have to take a decade to write.

Remember that advice about a fantasy series? J.R.R. Tolkien took decades to write the Lord of the Rings series, and for a good reason—he spent ages building Middle Earth and its history in addition to the actual stories.

Your initial story doesn’t have to be a project of this magnitude. You can spend years revising a book, but that first draft can come as quickly as you’d like.

And they'll probably only come quicker the more you write.

The first draft of my first book took three years. The first draft of my second took six weeks.

Plotter or pantser , discovering your writing process and what gets you to the last page will motivate you to write quicker.

Need a writing process that will keep you on track from the first page to the last? We've taken everything we've learned from helping thousands of writers finish their books and packed it all into The Write Plan planner. Plan your story and write your book with the planner designed just for writers. Get The Write Plan planner here »

Solution 3: Write Fast

This is in the interest of both yourself and the book.

Deadlines are crucial in getting you to commit to finishing sections of a book within a set timeline, and establishing consequences for not meeting those deadlines will help.

Set yourself a deadline (or few) and stick to it. Better yet, join a writing community like the 100 Day Book program to keep you writing on track while also receiving peer and editor feedback.

Remember, quality in the first draft doesn’t matter. You don’t have to stick to a certain word count either.

The only thing you have to commit to is finishing your story . Nothing else matters until you have every part of your story written down.

And when you write fast to meet deadlines, I bet that you will also find what you’ve written is tighter and more interesting to read. This is because you didn’t allow yourself to lose your train of thought.

Sloppy writing can be fixed in future drafts, but if you don’t get your story out, those drafts will never happen.

You can finish your book in 100 days. And in 100 Day Book, you'll get the training, structure, deadlines, accountability, and community support you need to make it to “The End.” Join the next semester of 100 Day Book and write your book with us »

Problem 4: Thinking You're Not a Good Writer

Yes, you are. You just haven’t written enough yet.

This deadly mindset is probably the most common problem preventing burgeoning writers from finishing their book.

They think, “I'll never get published. I'm not as good as [INSERT AUTHOR ROLE MODEL HERE].”

Maybe you're not yet . But you have too many great stories to tell, and only you can tell them in your way.

So get going.

Solution 4: Don't Listen to the Voice of Doubt

Bad writing habits can sneak up on you in nasty ways, but this doubtful voice can easily be the most deceitful.

To overcome it, put a jar on your desk labeled “Writer Thoughts.” Every time this idea comes up, add a dollar. Every time it comes up and you believe it , add two dollars. Every time it comes up, you believe it, and you stop writing, add five dollars.

At the end of each month, use that money to donate to a charity you don't want to support.

Not a fan of working against the negative? Use this jar as an “Ice Cream Fund” and add to it every time you have a rush that makes you feel like a writer. Pin a note that reminds you about that feeling, and when you take the money out to treat yourself, make sure to tape these notes to your writer's desk to motivate your next session.

Finishing a story can seem scary, especially for those of us who go into writing with a mindset that all writing is easy and glamorous.

Writing is hard.

But you can do it.

The world needs your stories!

Don't Let Writing Anxiety Cause Writer's Block

A final thought on writing anxiety:

Sometimes writing anxiety sneaks up on writers by labeling itself as writer's block. This is an issue because it disguises itself as something we think is out of our control.

Lots of writers will stop writing for long chunks of time because they're waiting for that creative spark. I'm sure you've heard the advice before: you can't wait for inspiration to strike!

Personally, I like this quote from writer Mary Kay Andrews:

“There’s no such thing as writer’s block. As long as your fingers can move over the keyboard, eventually it’ll segue into something.”

She's right, and this is a big reason why The Write Practice encourages writers to take fifteen minutes at the end of each post to share a prompt that will help writers PRACTICE writing. Now. This very second.

Remember, you can spend years mulling over the first draft of your book, but every moment you suspend on trying to make it perfect, you prevent yourself from delivering a finished manuscript that readers can review and critique.

And without a first draft, there will be no second.

There also won't be a second or third or forty-fifth book.

Do yourself a favor and embrace the problems causing your writing anxiety so you can consciously practice ways to overcome it.

If you need some extra help with this, I highly recommend checking out some of these great posts on The Write Practice:

• How to Overcome Writer’s Block While You Sleep
• 8 Bold Ways to Overcome Your Fear of Writing
• How to Overcome Writer's Burnout
• 10 Obstacles to Writing a Book and How to Conquer Them
• The Hardest Part of Writing Well

But before you do this, take a look at today's practice. Strike while the iron's hot, and even if it's not, keep going!

What’s the biggest problem contributing to your writing anxiety? Share in the comments below.

Set yourself some small writing deadlines for a story of “X” amount of words.

Establish your ending date (preferably something sooner than later). Take fifteen minutes to fill in four to five small deadlines that you'll complete along the way.

Jot down a little bit about what you'll include in each smaller deadline, either in bullet notes or sentences.

When you're done, share in the practice box below. Give feedback on your writing companion's posts—and keep coming back to update us all on how you're doing with meeting your benchmarks!

Oops! We could not locate your form.

J. D. Edwin

J. D. Edwin is a daydreamer and writer of fiction both long and short, usually in soft sci-fi or urban fantasy. Sign up for her newsletter for free articles on the writer life and updates on her novel, find her on Facebook and Twitter ( @JDEdwinAuthor ), or read one of her many short stories on Short Fiction Break literary magazine .

I don’t know what are the biggest barriers to writing. I think the closest approximation is ‘imposter syndrome’, which I also get when I’ve been off work for a while (or sometimes just over the weekend!).

The feeling is that I have forgotten something important; the thread of the book, the aim I had in mind, or even my sense of self, as a writer.

Though I’m getting better, I still have fits and starts of writing regularly and having ‘breaks’ that are too long. These breaks are only influenced by the conscious feeling that there’s something I’d rather be doing instead – even though I know keeping up with my writing is good for my general mental health, which is of course of the greatest importance.

It makes me think that there is an unfelt fear that is behind this – classic for all procrastination – but that I’m unable to reach the fear in the first place, let alone face it down. There are days when I even feel positive about writing and could certainly happily write, then I find that, for no real reason that I can trace, I just don’t.

This is a fantastic article! I love how you pinpointed different root causes of writer anxiety & then addressed each one. Prioritizing personal well-being is such an essential (yet often overlooked) part of the creative life so thank you for sharing about it in such a practical way.

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Dealing with Obstacles and Developing Good Habits

Overcoming Writing Anxiety and Writer’s Block

You may be thinking, “All this advice is good, but sometimes I just get stuck! What I normally do just isn’t working!” That’s a familiar feeling for all writers. Sometimes the writing just seems to flow as if by magic, but then the flow stops cold. Your brain seems to have run out of things to say. If you just wait for the magic to come back, you might wait a long time. What professional writers know is that writing takes consistent effort. Writing comes out of a regular practice—a habit. Professional writers also know that not everything they write ends up in the final draft. Sometimes we have to write what Anne Lamott calls a “shitty rough draft.” One of my favorite writing professors, Duncan Carter, used to say that he was a terrible writer but a great reviser, and that’s what helped him write when inspiration wasn’t available. So how do writers get going when they feel stuck or uninspired? They develop a set of habits and have more than one way to write to get the words flowing again.

 . . . . . . . . . . . . . . .

You might associate the idea of writing anxiety or writer’s block with procrastination, and procrastination certainly can be either a cause or an effect of writing anxiety. You can learn more about  procrastination later in this section of the text.  But writing anxiety or writer’s block is more of a condition. We might even venture to call it an ailment. Uh oh. Do you have it? To aid you in self-diagnosis here, let’s take some time to figure out what it is. Then, if you find that you’re afflicted, we’ll help you to determine the best course of treatment.

What is Writing Anxiety and How Do You Know if You Have It?

Do you worry excessively about writing assignments? Do they make you feel uneasy or agitated? Do you have negative feelings about certain types of writing? If you answered yes to any of these questions, you might suffer from writing anxiety. Writing anxiety simply means that a writer is experiencing negative feelings about a given writing task. The last of the questions above points out something important about this condition that has been afflicting writers everywhere for centuries: writing anxiety is often more about the audience and/or purpose for a given writing task than it is about the mere act of writing itself.

Let’s consider this situational nature of writing anxiety for a moment. Say you just bought a new pair of headphones. You brought them home, removed all the packaging, plugged them into your MP3 player, and they’re amazing!  So you decide to visit the company website, and you write a stellar review of the product, giving it a five-star rating and including descriptive details about the headphones’ comfortable fit, excellent sound quality, ability to cancel outside noise, and reasonable price.

Now, let’s say that the next day in biology class your instructor covers the topic of biomes, and you learn about animal habitats and biodiversity and the interrelation and interdependence of species within biomes. You find it fascinating and can’t wait to learn more. But then something terrible happens. Your instructor assigns a term project on the subject. As your instructor begins to describe the length and other specifications for the report, complete with formatting guidelines, citation requirements, and a bibliography at the end, your palms start to sweat, your stomach feels uneasy, and you begin to have trouble focusing on anything else your instructor has to say. You’re experiencing writing anxiety.

Writing anxiety is the condition of feeling uneasy about writing. Writer’s block is what you experience when you can’t manage to put words on the page. But your condition isn’t about the act of writing. Just yesterday you wrote a great review for those cool new headphones. So why do you suddenly feel paralyzed by the thought of writing the biology essay? Let’s consider some possible causes.

What Causes Writing Anxiety?

The causes of writing anxiety are many. Here are just a few:

• Inexperience with the type of writing task
• Previous negative experiences with writing (e.g. someone, maybe a teacher, has given you negative feedback or said negative things about your writing)
• Negative feelings bout writing (e.g. “I’m not a good writer”; “I hate writing.”)
• Immediate deadline
• Distant deadline
• Lack of interest in the topic
• Personal problems or life events

Level of experience may explain why you felt comfortable writing the headphone review while you break out in a sweat at the thought of the biology paper. If you’ve never written anything similar to a specific assignment, maybe you’re unsure about whether or not you can meet the assignment requirements or the teacher’s expectations. Or maybe the last time you turned in a written report for school you received negative feedback or a bad grade from the teacher. Maybe you procrastinated most of the term and now the paper is due next week and you feel overwhelmed. Or maybe it’s the second week of the term and the finals week deadline seems so far away that you’re not motivated to write.

Knowing the cause of your writing anxiety can help you move beyond it and get writing, even if you can’t completely eliminate the problem. If the topic doesn’t interest you or if you’re having problems at home, those probably aren’t issues that will just disappear, but if you try some of the following strategies, I think you’ll find that you can at least move forward with even the most anxiety-inducing of writing assignments.

Strategies for Overcoming or Managing Writing Anxiety

There are a number of strategies upon which you can draw to help you move past the feeling of being lost or stuck. Consider if some of the following tactics can help you to get writing again.

Just Start Writing

It might sound like it’s oversimplifying the matter, but it’s true. Half the battle is to just start writing. Try some strategies like freewriting or dialectic notetaking. (For more on freewriting, see “ Strategies for Getting Started ” in the “Prewriting” section of this text, and for more on dialectic notetaking , refer to the section on “Writing about Texts”). You should also believe in the importance of writing badly. Bruce Ballenger, a well-known writer and professor of English at Boise State explains why writing badly is an important part of the writing process:

Giving myself permission to write badly makes it much more likely that I will write what I don’t expect to write, and from those surprises will come some of my best writing. Writing badly is also a convenient alternative to staring off into space and waiting for inspiration.

Sometimes the biggest problem writers have with getting started is that they feel like the writing needs to be good, or well organized, or they feel like they need to start at the beginning. None of that is true. All you need to do is start.

Have you ever seen a potter make a clay pot? Before a potter can start shaping or throwing a pot, they have to bring the big wet blob of clay and slap it down on the table. It’s heavy and wet and messy, but it’s the essential raw material. No clay? No pot. “Bad writing” is a lot like that. You have to dump all the words and ideas onto the table. Just get them out. Only then do you have the raw material you need to start shaping the words into something beautiful and lasting. You can wait until the revision stages to worry about shaping your writing to be its best. For now, just get the ideas on the table.

Create Smaller Tasks and Short-Term Goals

One of the biggest barriers to writing can be that the task just seems too large, and perhaps the due date is weeks away. Each of these conditions can contribute to feelings of being overwhelmed or to the tendency to procrastinate. But the remedy is simple and will help you keep writing something each week toward your deadline and toward the finished product: divide larger writing tasks into smaller, more manageable tasks and set intermediate deadlines.

The process that the authors used for writing this text provides a good example. As authors, we had to divide the text into sections, but we also had to plan the process for a first draft, peer reviews, and revisions, along with adding images, links, and other resources, not to mention the final publication of the text online. Had we not divided up the larger tasks into smaller ones and set short-term goals and deadlines, the process of writing the text would have been overwhelming. We didn’t meet every single intermediate deadline right on time, but they helped move us along and helped us to meet the most important deadline—the final one—with a complete text that was ready to publish on schedule.

Imagine that you have a term paper that’s assigned during Week 1 of a eleven-week term, and it’s due during finals week. Make a list of all the tasks you can think of that need to be completed, from beginning to end, to accomplish all that the assignment requires. List the tasks, and assign yourself due dates for each task. Consider taking it a step further and create a task table that allows you to include a column for additional notes. Here’s an example:

Collaborate

Get support from a friend, family member, or classmate. Talk to your friends or family, or to a tutor in your college writing center, about your ideas for your essay. Sometimes talking about your ideas is the best way to flesh them out and get more ideas flowing. Write down notes during or just after your conversation. Classmates are a great resource because they’re studying the same subjects as you, and they’re working on the same assignments. Talk to them often, and form study groups. Ask people to look at your ideas or writing and to give you feedback. Set goals and hold each other accountable for meeting deadlines (a little friendly competition can be motivating!).

Talk to other potential readers. Ask them what they would expect from this type of writing. Meet with a tutor in your campus writing center. Be sure to come to the appointment prepared with a printed copy of the assignment and a short list of what you want to work on, along with a printed copy of your essay.

For more about getting help from a tutor see “Why Meet with a Writing Tutor?” and “Preparing to Meet with a Tutor” in the “ Giving and Receiving Feedback ” section of this text.

Embrace Reality

Don’t imagine the situation of your writing assignment to be any better or worse than it really is. There are some important truths for you to recognize:

• Focus on what you do best rather than fretting about your perceived weaknesses.
• Acknowledge that writing can be difficult and that all you need to do is do your best.
• Recognize what might be new or unfamiliar about the type of writing that you’re doing.
• Understand that confusion and frustration is a natural part of experiencing new things, and it’s okay; it’s part of the learning process.
• Remember that you’re a student and that you’re supposed to be experiencing things that are new and unfamiliar (new formats, new audiences, new subject matter, new processes, new approaches, etc.).
• Repeat the mantra, “It doesn’t have to be perfect; it just has to be DONE.”

Seek Out Experts

If you can, find more experienced writers (especially related to the type of writing that you’re doing) and ask them questions. Sometimes, this might just mean a friend or family member who’s already taken a couple years of college courses. Maybe it’s a fellow student who has already taken the class you’re taking now. Also, the tutors in your college writing center can be a big help at any stage in the writing process. Give them a call and make an appointment. And don’t forget the expert you see all the time throughout any class that you take: your instructor. Ask your instructor for suggestions. That’s what she’s there for.

Another way to learn from the experience of others is to look at examples of other pieces of writing of the type that you’re working on. How is this piece organized? Does it make use of source material? What sort of tone does it use? If you don’t know where to find examples, ask your instructor. If he doesn’t have them at the ready, he’ll likely be able to give you some suggestions about where to find some.

The Word on College Reading and Writing Copyright © by Carol Burnell, Jaime Wood, Monique Babin, Susan Pesznecker, and Nicole Rosevear is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Overcoming Creativity Anxiety

Five things you need to know to realize your creative potential..

Posted January 4, 2023 | Reviewed by Ekua Hagan

• What Is Anxiety?
• Find a therapist to overcome anxiety
• Understanding the nature of creativity can help one avoid misinterpreting its challenges as lack of skill.
• What is most difficult about creativity is committing to original ideas and developing them through a non-linear process.
• Creativity requires a willingness to tolerate a level of risk and a variety of emotions.

Part 1 of a two-part series. See Part 2 here .

The New Year is an occasion many of us look forward to setting new goals and aspirations. Disconnecting from our digital devices before bedtime. Spending more time with friends. Meditating. Exercising. Creativity is not commonly found on the lists of self-care activities. Yet, evidence is accumulating about creativity helping us come up with more effective emotion regulation strategies, enlivening our relationships, improving moods, and enhancing our sense of purpose and meaning in life.

Creativity can be anxiety provoking. It requires us to face an empty screen or blank canvas, literally or figuratively. Because creativity means doing something that has not been done before, there are no roadmaps. And we never know how will others react to our ideas or creations.

These are very real challenges. The good news is that there are two kinds of lessons that can help. To overcome creativity anxiety, we first need to understand how creativity works. Because if we rely on (common) misconceptions about creativity, we might misinterpret some aspects of the creative process, get more anxious, and eventually discouraged. And second, we need to have strategies—things we can do to think more creatively, manage inevitable obstacles and challenges, and finally transform ideas into reality. In this post, I will discuss five things we need to know about creativity and in the next post, I will discuss helpful creativity strategies.

Creativity can be little and big. And different kinds of creativity are important in different ways.

When asked for examples of creative individuals, people readily think of geniuses, such as Nikola Tesla, Toni Morrison, or Antoni Gaudi. These individuals are examples of what creativity scholars often call Big-C creativity. Their creative achievements have profoundly and enduringly influenced or changed culture or the world at large. It is understandable that these individuals come to mind first—their creativity is obvious and we have heard much about them. But if we think that creativity is only or even primarily in the domain of genius, it is easy to get anxious and dispirited about it.

Luckily, there is much more to creativity than Big-C. Creativity happens in mini ways in the learning process, such as when making a connection between new concepts and personal experience or when a child independently discovers a new learning strategy. This creativity enriches and improves our learning. Creativity also exists in our everyday activities and interactions. We can think of an original way to cheer a friend who is going through difficult times. A teen can design her own prom dress. We can share a story at an open mic story slam event. These and similar acts of creativity can contribute to our well-being. And creativity exists in professional settings—contributing original ideas and developing new work processes or products. Recognizing the range of creativity can help us realize that we can be creative too.

Creativity can be learned.

Our culture sends us messages that creativity is an innate ability and that we either have it or do not. These messages are often implicit. That is, we are not directly taught that we have a fixed amount of creativity, but we get this message indirectly. We are not taught creative thinking or strategies for developing creative ideas at school. And schools tend to teach skills that are teachable, right? At least we tend to assume that.

Messages in the media reinforce the idea that creativity is about innate ability. For instance, the “Got Talent” show started in Britain, followed by the United States, and from there spread to more than 69 countries around the world and has been named the most successful talent show by the Guinness World Records. The feedback contestants receive reinforces the idea of creativity as a “natural” talent. Comments like, “[...] we need that raw talent to begin with and tha t’s what we’ve got” or, “You have genuinely natural soul. You really, really do” make us think that what makes people successful is what they were born with and not what they worked on or learned.

Creativity scholars have repeatedly shown that creativity skills can be taught and successfully learned. Moreover, they can be learned at different ages, from childhood to adulthood. In other words, it is not too late to start learning.

Coming up with ideas is not the most important (or difficult) part of creativity.

Creativity is often equated with coming up with new ideas in our minds and in the media. Interviews with successful innovators or musicians ask primarily about how they came up with their ideas. Yet, anyone who ever took part in a brainstorming session understands that people are good at generating ideas. Indeed, a survey of organizational leaders shows that they believe their employees have no trouble generating ideas; it is bringing those ideas to life that is a problem.

What is most difficult about creativity is committing to original ideas with the potential to be effective for their audiences and developing them through a process that is not linear and is full of challenges. Steve Jobs did not invent touchscreen technology when he presented the first iPhone. Rather, his biggest contribution was to put together different existing technologies, be willing to scrap the initial iPhone design when it was not accomplishing his design vision, and work to develop that vision in full.

It's not just you; creativity is a rollercoaster of emotions.

Just as creativity requires a willingness to tolerate a certain level of risk, it requires a willingness to tolerate a variety of emotions, from anxiety in front of an open-ended task to frustration at obstacles to disappointment or even anger at challenging feedback to the joy of accomplishment. And it is understandable that we might want to avoid unpleasant feelings.

Experiencing difficult emotions can make us doubt ourselves, feel discouraged, and want to give up. It is easy to think that the difficulties are diagnostic of our lack of skills. But unpleasant feelings are not unique to our experience. Artists describe emotions in their creative process from pleasure to melancholia or even desperation, designers talk about anxiety for missing possibilities and doubts about where the work is going, and scientists describe frustrations before getting their ideas and suffering when working on reports of their work. When you know that difficult feelings are to be expected, it becomes easier to remind ourselves that they are temporary once we experience them. This, in turn, can help us wade through them.

Creativity is related to both vulnerabilities and strengths

The idea about the connection between mental illness and creativity is widespread. We have seen movies about famous creators who inflicted self-harm (e.g., Vincent Van Gogh), experienced psychosis (e.g., John Nash), or committed suicide (e.g., Sylvia Plath). Do we still want to engage in creativity considering this?

Although creative individuals do show higher rates of mood disorders than non-creative individuals, the story does not end there. In addition to higher psychological vulnerabilities, creative individuals also have strengths which can help them deal with their challenges. For example, creative individuals have a sense of personal agency—the ability to contribute to achieving their goals—and they can think of different ways to get to their goals. They also have attributes of psychological well-being, such as a sense that they have grown and developed as a person over time and a sense of direction and purpose in life, as well as attributes of resiliency (i.e., getting over and recovering from difficulties).

Psychologists have repeatedly shown that how we think about something greatly influences our actions. This general lesson applies to creativity, too. If we think creativity is innate, any difficulty or obstacle can seem to confirm our doubts and anxieties. Knowing that creativity can be learned can make us more likely to try. And in those times when we have doubts about whether we want to be creative, we can remind ourselves of the potential benefits it can bring to our well-being.

Part 2 in the Overcoming Creativity Anxiety series here .

https://www.estherperel.com/blog/letters-from-esther-play

Drake, J. E., & Winner, E. (2013). How children use drawing to regulate their emotions. Cognition and Emotion, 27 (3), 512–520. https://doi.org/10.1080/02699931.2012.720567

Hoffmann, J. D., Ivcevic, Z., & Maliakkal, N. (2021). Enhancing creativity skills of children enrolled in an emotion rich art-based course. Empirical Studies in the Arts . 39 (2) 123–148. https://doi.org/10.1177/0276237420907864

Ivcevic, Z. (2007). Artistic and everyday creativity: An act-frequency approach. Journal of Creative Behavior, 41 , 271-290. https://doi.org/10.1002/j.2162-6057.2007.tb01074.x

Ivcevic, Z., Grossman, E., & Ranjan, A. (2022). Patterns of psychological vulnerabilities and resources in artists and nonartists. Psychology of Aesthetics, Creativity, and the Arts, 16 (1), 3–15. https://doi.org/10.1037/aca0000309

Kaufman, J. C. (2018). Finding meaning with creativity in the past, present, and future. Perspectives on Psychological Science, 13 (6), 734–749. https://doi.org/10.1177/1745691618771981

Scott, G., Leritz, L. E., & Mumford, M. D. (2004). The Effectiveness of Creativity Training: A Quantitative Review. Creativity Research Journal, 16 (4), 361–388. https://doi.org/10.1207/s15326934crj1604_1

Taylor, C. L. (2017). Creativity and mood disorder: A systematic review and meta-analysis. Perspectives on Psychological Science, 12 (6), 1040–1076. https://doi.org/10.1177/1745691617699653

Weber, H., de Assunção, V. L., Martin, C., Westmeyer, H., & Geisler, F. C. (2014). Reappraisal inventiveness: The ability to create different reappraisals of critical situations. Cognition and Emotion, 28 (2), 345–360. https://doi.org/10.1080/02699931.2013.832152

Zorana Ivcevic Pringle, Ph.D. is a research scientist at the Yale Center for Emotional Intelligence and studies emotions in creativity, as well as how to teach creativity skills through the arts.

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