creative writing examples sadness

Describing Sadness in Creative Writing: 33 Ways to Capture the Blues

By: Author Paul Jenkins

Posted on August 25, 2023

Categories Creative Writing , Writing

Describing sadness in creative writing can be a challenging task for any writer.

Sadness is an emotion that can be felt in different ways, and it’s important to be able to convey it in a way that is authentic and relatable to readers. Whether you’re writing a novel, short story, or even a poem, the ability to describe sadness can make or break a story.

Understanding sadness in writing is essential to creating a believable character or scene. Sadness is a complex emotion that can be caused by a variety of factors, such as loss, disappointment, or loneliness. It’s important to consider the context in which the sadness is occurring, as this can influence the way it is expressed.

By exploring the emotional spectrum of characters and the physical manifestations of sadness, writers can create a more authentic portrayal of the emotion.

In this article, we will explore the different ways to describe sadness in creative writing. We will discuss the emotional spectrum of characters, the physical manifestations of sadness, and the language and dialogue used to express it. We’ll also look at expert views on emotion and provide unique examples of describing sadness.

By the end of this article, you’ll have a better understanding of how to authentically convey sadness in your writing.

Key Takeaways

• Understanding the emotional spectrum of characters is essential to creating a believable portrayal of sadness.
• Physical manifestations of sadness can be used to convey the emotion in a more authentic way.
• Authenticity in describing sadness can be achieved through language and dialogue, as well as expert views on emotion.

33 Ways to Express Sadness in Creative Writing

Let’s start with some concrete examples of sadness metaphors and similes:

Here are 33 ways to express sadness in creative writing:

• A heavy sigh escaped her lips as a tear rolled down her cheek.
• His eyes glistened with unleashed tears that he quickly blinked away.
• Her heart felt like it was being squeezed by a cold, metal fist.
• A profound emptiness opened up inside him, threatening to swallow him whole.
• An avalanche of sorrow crashed over her without warning.
• His spirit sank like a stone in water.
• A dark cloud of grief descended on her.
• Waves of sadness washed over him, pulling him under.
• She felt like she was drowning in an ocean of melancholy.
• His eyes darkened with sadness like a gathering storm.
• Grief enveloped her like a wet blanket, heavy and smothering.
• The light in his eyes dimmed to a flicker behind tears.
• Sadness seeped through her veins like icy slush.
• The corners of his mouth drooped like a wilting flower.
• Her breath came in short, ragged gasps between sobs.
• A profound melancholy oozed from his pores.
• The weight of despair crushed her like a vice.
• A haunted, hollow look glazed over his eyes.
• An invisible hand squeezed her heart, wringing out all joy.
• His soul curdled like spoiled milk.
• A silent scream lodged in her throat.
• He was consumed by a fathomless gloom.
• Sorrow pulsed through her veins with every beat of her heart.
• Grief blanketed him like new-fallen snow, numbing and icy.
• Tears stung her eyes like shards of glass.
• A cold, dark abyss of sadness swallowed him.
• Melancholy seeped from her like rain from a leaky roof.
• His spirit shriveled and sank like a deflating balloon.
• A sick, hollow ache blossomed inside her.
• Rivulets of anguish trickled down his cheeks.
• Sadness smothered her like a poisonous fog.
• Gloom settled on his shoulders like a black shroud.
• Her sorrow poured out in a river of tears.

Understanding Sadness in Writing

Describing sadness in writing can be a challenging task.

Sadness is a complex emotion that can manifest in different ways. It can be expressed through tears, sighs, silence, or even a simple change in posture. As a writer, you need to be able to convey sadness effectively to your readers, while also avoiding cliches and melodrama.

One way to approach describing sadness is to focus on the physical sensations and reactions that accompany it. For example, you might describe the feeling of a lump in your throat, or the tightness in your chest. You could also describe the way your eyes become watery, or the way your hands tremble.

These physical descriptions can help your readers to empathize with your characters and feel the same emotions.

Another important aspect of describing sadness is the tone of your writing. You want to strike a balance between conveying the depth of the emotion and avoiding excessive sentimentality.

One way to achieve this is to use simple, direct language that conveys the emotion without resorting to flowery language or overwrought metaphors.

When describing sadness, it’s also important to consider the context in which it occurs. Sadness can be a response to many different situations, such as loss, disappointment, or rejection. It can also be accompanied by other emotions, such as anger, confusion, or melancholy.

By considering the context and accompanying emotions, you can create a more nuanced and realistic portrayal of sadness in your writing.

Finally, it can be helpful to draw on examples of how other writers have successfully described sadness. By studying the techniques and descriptions used by other writers, you can gain a better understanding of how to effectively convey sadness in your own writing.

In conclusion, describing sadness in writing requires a careful balance of physical descriptions, tone, context, and examples. By focusing on these elements, you can create a more nuanced and effective portrayal of this complex emotion.

Emotional Spectrum in Characters

In creative writing, it’s important to create characters that are multi-dimensional and have a wide range of emotions. When it comes to describing sadness, it’s essential to understand the emotional spectrum of characters and how they respond to different situations.

Characters can experience a variety of emotions, including love, happiness, surprise, anger, fear, nervousness, and more.

Each character has a unique personality that influences their emotional responses. For example, a protagonist might respond to sadness with a broken heart, dismay, or feeling desolate.

On the other hand, a character might respond with anger, contempt, or apathy.

When describing sadness, it’s important to consider the emotional response of the character. For example, a haunted character might respond to sadness with exhaustion or a sense of being drained. A crestfallen character might respond with a sense of defeat or disappointment.

It’s also important to consider how sadness affects the character’s personality. Some characters might become withdrawn or depressed, while others might become more emotional or volatile. When describing sadness, it’s important to show how it affects the character’s behavior and interactions with others.

Overall, the emotional spectrum of characters is an important aspect of creative writing. By understanding how characters respond to different emotions, you can create more realistic and relatable characters. When describing sadness, it’s important to consider the character’s emotional response, personality, and behavior.

Physical Manifestations of Sadness

When you’re feeling sad, it’s not just an emotion that you experience mentally. It can also manifest physically. Here are some physical manifestations of sadness that you can use in your creative writing to make your characters more believable.

Tears are one of the most common physical manifestations of sadness. When you’re feeling sad, your eyes may start to water, and tears may fall down your cheeks. Tears can be used to show that a character is feeling overwhelmed with emotion.

Crying is another physical manifestation of sadness. When you’re feeling sad, you may cry. Crying can be used to show that a character is feeling deeply hurt or upset.

Numbness is a physical sensation that can accompany sadness. When you’re feeling sad, you may feel emotionally numb. This can be used to show that a character is feeling disconnected from their emotions.

Facial Expressions

Facial expressions can also be used to show sadness. When you’re feeling sad, your face may droop, and your eyes may look downcast. This can be used to show that a character is feeling down or depressed.

Gestures can also be used to show sadness. When you’re feeling sad, you may slump your shoulders or hang your head. This can be used to show that a character is feeling defeated or hopeless.

Body Language

Body language can also be used to show sadness. When you’re feeling sad, you may cross your arms or hunch over. This can be used to show that a character is feeling closed off or defensive.

Cold and Heat

Sadness can also affect your body temperature. When you’re feeling sad, you may feel cold or hot. This can be used to show that a character is feeling uncomfortable or out of place.

Sobbing is another physical manifestation of sadness. When you’re feeling sad, you may sob uncontrollably. This can be used to show that a character is feeling overwhelmed with emotion.

Sweating is another physical manifestation of sadness. When you’re feeling sad, you may sweat profusely. This can be used to show that a character is feeling anxious or nervous.

By using these physical manifestations of sadness in your writing, you can make your characters more realistic and relatable. Remember to use them sparingly and only when they are relevant to the story.

Authenticity in Describing Sadness

When it comes to describing sadness in creative writing, authenticity is key. Readers can tell when an author is not being genuine, and it can make the story feel less impactful. In order to authentically describe sadness, it’s important to tap into your own emotions and experiences.

Think about a time when you felt truly sad. What did it feel like? What physical sensations did you experience? How did your thoughts and emotions change? By tapping into your own experiences, you can better convey the emotions of your characters.

It’s also important to remember that sadness can manifest in different ways for different people. Some people may cry, while others may become withdrawn or angry. By understanding the unique ways that sadness can present itself, you can create more authentic and realistic characters.

If you’re struggling to authentically describe sadness, consider talking to a loved one or best friend about their experiences. Hearing firsthand accounts can help you better understand the nuances of the emotion.

Ultimately, the key to authentically describing sadness is to approach it with empathy and understanding. By putting yourself in the shoes of your characters and readers, you can create a powerful and impactful story that resonates with your audience.

Language and Dialogue in Expressing Sadness

When writing about sadness, the language you use can make a big difference in how your readers will perceive the emotions of your characters.

Consider using metaphors and similes to create vivid images that will help your readers connect with the emotions of your characters.

For example, you might describe the sadness as a heavy weight on the character’s chest or a dark cloud hanging over their head.

In addition to using metaphors, you can also use adjectives to describe the character’s emotions. Be careful not to overuse adjectives, as this can detract from the impact of your writing. Instead, choose a few powerful adjectives that will help your readers understand the depth of the character’s sadness.

For example, you might describe the sadness as overwhelming, suffocating, or unbearable.

When it comes to dialogue, it’s important to remember that people don’t always express their emotions directly. In fact, sometimes what isn’t said is just as important as what is said.

Consider using subtext to convey the character’s sadness indirectly. For example, a character might say “I’m fine,” when in reality they are struggling with intense sadness.

Another way to use dialogue to convey sadness is through the use of behaviors. For example, a character might withdraw from social situations, stop eating or sleeping properly, or engage in self-destructive behaviors as a result of their sadness.

By showing these behaviors, you can help your readers understand the depth of the character’s emotions.

Finally, when describing sadness, it’s important to consider the overall mood of the scene. Use sensory details to create a somber atmosphere that will help your readers connect with the emotions of your characters.

For example, you might describe the rain falling heavily outside, the silence of an empty room, or the dim lighting of a funeral home.

Overall, when writing about sadness, it’s important to choose your words carefully and use a variety of techniques to convey the depth of your character’s emotions.

By using metaphors, adjectives, dialogue, behaviors, and sensory details, you can create a powerful and emotionally resonant story that will stay with your readers long after they’ve finished reading.

Expert Views on Emotion

When it comes to writing about emotions, it’s important to have a deep understanding of how they work and how they can be conveyed effectively through writing. Here are some expert views on emotion that can help you write about sadness in a more effective and engaging way.

Dr. Paul Ekman

Dr. Paul Ekman is a renowned psychologist who has spent decades studying emotions and their expressions. According to Dr. Ekman, there are six basic emotions that are universally recognized across cultures: happiness, sadness, anger, fear, surprise, and disgust.

When it comes to writing about sadness, Dr. Ekman suggests focusing on the physical sensations that accompany the emotion.

For example, you might describe the heaviness in your chest, the lump in your throat, or the tears that well up in your eyes. By focusing on these physical sensations, you can help your readers connect with the emotion on a deeper level.

While sadness is often seen as a “negative” emotion, it’s important to remember that all emotions have their place in creative writing. Disgust, for example, can be a powerful tool for conveying a character’s revulsion or aversion to something.

When writing about disgust, it’s important to be specific about what is causing the emotion. For example, you might describe the smell of rotting garbage, the sight of maggots wriggling in a pile of food, or the texture of slimy, raw meat.

By being specific, you can help your readers feel the full force of the emotion and understand why your character is feeling it.

Overall, when it comes to writing about emotions, it’s important to be both specific and authentic. By drawing on your own experiences and using concrete details to describe the physical sensations and causes of emotions, you can create a more engaging and emotionally resonant piece of writing.

Unique Examples of Describing Sadness

When it comes to describing sadness in creative writing, there are many unique ways to convey this emotion to your readers. Here are some examples that can help you create a powerful and moving scene:

• The crying scene : One of the most common ways to show sadness is through tears. However, instead of just saying “she cried,” try to describe the crying scene in detail. For instance, you could describe how her tears fell like raindrops on the floor, or how her sobs shook her body like a violent storm. This will help your readers visualize the scene and feel the character’s pain.
• The socks : Another way to show sadness is through symbolism. For example, you could describe how the character is wearing mismatched socks, which represents how her life is falling apart and nothing seems to fit together anymore. This can be a subtle yet effective way to convey sadness without being too obvious.
• John : If your character is named John, you can use his name to create a sense of melancholy. For example, you could describe how the raindrops fell on John’s shoulders, weighing him down like the burdens of his life. This can be a creative way to convey sadness while also adding depth to your character.

Remember, when describing sadness in creative writing, it’s important to be specific and use vivid language. This will help your readers connect with your character on a deeper level and feel their pain.

Frequently Asked Questions

What are some effective ways to describe a person’s sadness without using the word ‘sad’.

When describing sadness, it’s important to avoid using the word “sad” as it can come across as cliché and lackluster. Instead, try using more descriptive words that evoke a sense of sadness in the reader. For example, you could use words like “heartbroken,” “bereft,” “devastated,” “despondent,” or “forlorn.” These words help to create a more vivid and emotional description of sadness that readers can connect with.

How can you describe the physical manifestations of sadness on a person’s face?

When describing the physical manifestations of sadness on a person’s face, it’s important to pay attention to the small details. For example, you could describe the way their eyes become red and swollen from crying, or how their mouth trembles as they try to hold back tears. You could also describe the way their shoulders slump or how they withdraw into themselves. By focusing on these small but telling details, you can create a more realistic and relatable portrayal of sadness.

What are some examples of using metaphor and simile to convey sadness in creative writing?

Metaphors and similes can be powerful tools for conveying sadness in creative writing. For example, you could compare a person’s sadness to a heavy weight that they’re carrying on their shoulders, or to a storm cloud that follows them wherever they go. You could also use metaphors and similes to describe the way sadness feels, such as a “gnawing ache” in the pit of their stomach or a “cold, empty void” inside their chest.

How can you effectively convey the emotional weight of sadness through dialogue?

When writing dialogue for a character who is experiencing sadness, it’s important to focus on the emotions and feelings that they’re experiencing. Use short, simple sentences to convey the character’s sadness, and avoid using overly complex language or metaphors. You could also use pauses and silences to create a sense of emotional weight and tension in the scene.

What are some techniques for describing a character’s inner sadness in a way that is relatable to the reader?

One effective technique for describing a character’s inner sadness is to focus on their thoughts and feelings. Use introspection to delve into the character’s emotions and describe how they’re feeling in a way that is relatable to the reader. You could also use flashbacks or memories to show why the character is feeling sad, and how it’s affecting their current actions and decisions.

How can you use sensory language to create a vivid portrayal of sadness in a poem or story?

Sensory language is an effective way to create a vivid portrayal of sadness in a poem or story. Use descriptive words that evoke the senses, such as the smell of rain on a sad day or the sound of a distant train whistle. You could also use sensory language to describe the physical sensations of sadness, such as the weight of a heavy heart or the taste of tears on the tongue. By using sensory language, you can create a more immersive and emotional reading experience for your audience.

135+ Sad Writing Prompts to Stir Deep Emotions in Readers

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Writing Prompts

The benefits of using sad writing prompts

Unlocking creative depths.

Enhancing writing skills

Exploring emotions and improving mental health

Sad writing prompts to unleash creative depths

Exploring health challenges and personal struggles.

Tackling social challenges and environmental crises

Delving into personal relationships and trust issues

Artistic expressions of emotions

Sad writing prompts to develop students’ writing skills

Addressing academic pressure and anxiety.

Understanding family dynamics and common issues

Confronting bullying and peer pressure

Navigating friendship and unexpected setbacks

Sad writing prompts to facilitate emotional expressions and personal growth

Facing anxiety and fear.

Examining loneliness and isolation

Reflecting on regrets and mistakes

Dealing with loss and heartbreak

Unraveling betrayal, conflict, and misunderstandings

Do sad writing prompts have to be with a sad or tragic ending?

Conclusion: Gateways to emotional depth, imagination, and transformation

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Describing Sadness

The righteous cry out, and the Lord hears them; he delivers them from all their troubles. The Lord is close to the brokenhearted and saves those who are crushed in spirit. Psalm 34:17-18

A wave of sadness

Irremediable sorrow (impossible to cure/put right)

A gloom overcame me

My cry turned to whimpers

I felt layers of unsettling emotion

A sob rose in my throat

A pining melancholy

A plaintive cry (mournful)

A great pang gripped my heart

I cried in a low moan

My eyes were prickling with tears

I cried in exasperation

I cried furiously

I cried bitter tears

I felt a sting of melancholy and confusion

I felt a great wrench of sadness

My heart twisted

Tears pool my eyes

A great sense of weariness sweeps over me sucking my energy with it.

My voice, thick with tears

The words are strangled in my throat

Aching with sympathy

His eyes misted over

She had an expression of sad confusion on her face

There were tracks of tears on her face

Her face contorted and she shook her head and wept

He said with sadness in his voice

He had a lingering sadness in his eyes

He had large sad eyes

Her face clouded with a mixture of disapproval and disappointment

I watched her eyes widen and rim with tears

Her face contorted as though she was struggling not to cry

The look in her eyes was desolate

Her face becomes etched with sadness

Sadness flitted across her face

The bitterness in her face faded to weary sadness

Grave sadness in his face

Her eyes are shining with the threat of tears

The haunted look in her eyes

Darkness gathered in her eyes and filled it

Her voice, think with tears

His voice is heavy with emotion

Tears brimmed her eyes

Her face was set in resigned sad lines

She was holding her eyes in such a way that kept the tears inside the lids

I felt a wave of sadness

I feel a prick of sadness

I saw a glint of sadness in his eye

His eyes were dull with sadness

My heart was flooded with sadness

Shaking with grief

She said brokenly

My throat thickens

Sadness washed over him

She shook her head sadly

Resigned sadness in her eyes

My voice cracks

He sighs deeply, miserably

Dismay – consternation and distress, typically that’s caused by something unexpected   – Her mouth slack with dismay.

Her face Crumples like a used tissue, she turns grey

That murky dull feeling where you want to cry

It brought a pang to her heart

An ache pushed against her heart

A lump formed in her throat

Hollowed out by sadness

Dry, juddering sobs but no tears

A sharp sadness

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101 Sorrowful Writing Prompts That Are Sadder Than Sad

The most powerful way to engage your reader is to invoke strong emotion .

Readers who quickly empathize are more likely to keep reading a story that invites them to do just that. 

We’ve rounded up 101 heartbreaking, sad writing prompts to make your job easier. 

And since sad prompts aren’t always enough, we’ve thrown in some story ideas to show how you can spin a few words into a story your reader can’t put down. 

#1 — She never slept in this late… 

#2 — “what would you say if i asked you… “, #3 — the folks at work call me a “cat lady.”, #4 — she took her time choosing the perfect stone for this one. , #5 — he had that luxury., 101 sad writing prompts to inspire your next heart-wrenching story , what are some sad story ideas .

Check out these five sad book ideas, each based on a prompt but taking it a step further.

As you move on to the prompts list, pay attention to those that start developing in your mind into story ideas. Then set a timer for a writing sprint and see what happens. 

But as he rolled out of bed that morning, he seized upon the idea of surprising her with breakfast in bed. It took longer than he expected, and for a moment, he feared she would wake before he brought it to her. 

He needn’t have worried. 

The eggs and toast were cold now on the breakfast tray. He hadn’t noticed the folded letter on the bedside table, which the officer held in her hand as she read it. Then, she looked up at him, her mouth closed and her eyes unreadable behind the reflective lenses. 

“Can I read it, now?” he asked. 

“Asked me to what?” He visibly stiffened in his chair. She took a deep breath. 

“I want you to empty one of the two rooms you’ve filled with your things — and I mean completely empty it, closet and all — by the beginning of summer… Or I’m out.” 

He turned away, but she saw him swallow, heard him clear his throat, and take a deep, noisy breath through his nose. 

Without looking at her, he nodded briefly and said, “I’ll see what I can do.” 

I have two of them. And while my mother had earned a reputation for trapping strays in her house and taking them to the vet to be spayed or neutered, I was nowhere near that ambitious. 

Mischa and Cal just got me. Both were spayed. Both patrolled the apartment with the confidence of creatures whose mere will sustained the universe. 

Right now, they mutually shunned my guest, yowling every time the smell assaulted their nostrils. 

“Patience, kitties. Wait ‘til the embalming fluid does its work. It’s a special recipe. You’ll warm up to him no time.” 

They’d switched to cremation after she lost the first baby. Six more followed, and this one — the one she’d named Hope — had almost survived the ordeal of childbirth. It had started normally, but her doctor had urged an emergency C-section. She hadn’t argued. 

No time for anesthesia. No time to say goodbye to her husband, who told her he would be in there as soon as he could. 

Hope was silent. They tried reviving her, and she… lying on the table with her abdomen cut open, waited, afraid to breathe. 

The door opened then to let her husband in.

The luxury of agreeing to work whatever hours he chose. Not being the family chauffeur gave him a freedom he’d gotten used to. He couldn’t see why none of her interviews resulted in a job offer. 

He was about to learn. 

“Jax and Lily finish school at 2:00. Ben’s done at 3. Then Lily starts her shift at 4 and is done by 7. Jax doesn’t work today, but they do tomorrow. And no, neither of them can cancel last minute.”

“Why not? How am I supposed to get anything done if I’m constantly heading out the door to get them from something?” he asked. 

“Oh… Sorry, does your boss not know you have kids?”

Read through these sad story prompts until you find one you’d like to use, either for a new story contest or for your own creative journaling .

Develop at least one of them into an idea today. Which of these will get you started on your next writing sprint?

1. The lone survivor of an advanced race tells the story of their family’s mission to Earth and what it cost them. 

2. The main character receives a devastating diagnosis and decides to track down and try to reconnect with their estranged daughter and son. 

3. She asked him a question she wished she’d asked him years ago. He reacted much as she’d expected. 

4. One look at his face, and she knew he’d been through a lifetime’s worth of pain but hadn’t been beaten by it.

5. Whose idea was it to add “‘Till death do us part” to the wedding vows? And did only one kind of death matter to them?

6. “How did I not see it in my own daughter? She was dying right in front of me!” 

7. He teased her for not being a “detail person.” But she noticed well enough how he looked at her best friend. 

8. “A hero would sacrifice you to save the world. I’m not a hero.” 

9. They were playing hide-and-seek. She never found him. Until now. 

10. “You’ve had 15 years to notice… It just didn’t bother you enough to do something about it.” 

11. “I was hoping you’d prove me wrong. Being right is the last thing I want to be right now.” 

12. “She gave me one last look before walking out into the storm. No one has seen her since.” 

13. He had no idea how much she already knew. He walked in the door, ready to tell her everything. 

14. “You were angry with me … because I made you look bad to your family. What am I, then?” 

15. I was old enough to remember the day I became an orphan. 

16. “You honestly think this is the first time he’s done this? Where have you been?”

17. “It gets worse at night. We can’t allow anyone into that room with her.“

18. She wanted to marry her best friend. He wanted an idea she couldn’t live up to. 

19. She emptied the hope chest, filled it with potting soil, and, planting it full of cacti, left it behind his car before she drove off.

20. Being depressed is hard enough. Trying to hide it is what led to this moment.

21. “You have no idea how messed up it is that you’re fine with the way things are.”

22. Most of my nightmares are about things that happen when the sun is shining.

23. “I know I need to grieve what I thought I would have with him. But right now, I’m just relieved.” 

24. She gave him her house key and the garage door button with a small smile and nod before walking to her car.

25. “I was a different woman when I married him. And I’ve never been enough. But good Catholic husbands don’t give up, right?” 

26. “I was waiting in the car when the rain started. He stepped out onto the covered porch, looked at me, and shook his head.”

27. “What kind of retreat was this anyway?” she thought. But then she saw it: the perfect stone, worn smooth and darker than its neighbors.

28. She spent the week in bed, unable to do more than sleep between small sips of water. He wasn’t there when she recovered.

29. It was the best part of their usual cycle, but even then, she saw the beginnings of the next stage. Nothing had changed.

30. “It’s not that I’m not motivated to put in the effort to become a saint. It’s that I’d rather be anything else.”

31. His voice brought back memories she wasn’t ready for. 

32. “Don’t wait until you’re ready. No one’s really ready until they have nothing left to lose — and not enough time to enjoy winning.”

33. “One day, when he grows up and tells the church to piss off, he’ll find someone else, and they’ll be happy together. I hope.” 

34. Maybe I’m ready for a job that requires me to shower on a daily basis. Maybe I need that now. 

35. This was the song that was playing when we met. It hits differently, now. 

36. He wasn’t a stranger for long. Something he said within those first few minutes flipped a switch. And just like that, he was my home.

37. “You seriously overestimate my need for certainty.” 

38. All anyone can guess is that she took the wrong prescription by mistake. It was right next to hers. No one knew about the allergy. 

39. One day at a time, she sorted through her things, boxed them up, hauled donations out the door. This time was different. She was ready. 

40. That cat was the only creature who brought a smile to her face. No one’s seen her leave the house since. 

41. He sent her a bouquet of pink Gerbera daisies with a note. She bit her lip as she read it, sighing deeply before looking up.

42. She was the only one putting up signs when the child went missing. No one knew why until the police arrived at her door.

43. The flowers he bought meant something. The ones she bought for herself meant something else. 

44. She never needed the alcohol to numb herself. It just made it easier to stay.

45. Retirement was finally just a week away. The cardiac wing of the hospital wasn’t the vacation spot he had in mind.

46. She listed every item in the donation box, making sure to add a value estimate to every gift she’d kept. 

47. He left a note on the kitchen countertop: “I ate the cake you made for book club. It was dry.” Terrible last words.

48. “You have no idea how little those words mean right now.”

49. He’d forgotten how nice it was when people showed up when they said they would. 

50. The last teddy bear sat on top of the pile, his head bowed. 

51. The best thing about the property was the trees. One by one, they started dying. 

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52. She brewed his favorite tea every morning and started her day with it. 

53. Find a box that will work for my Dell tower, monitor (in a pillowcase w/ padding), keyboard, speakers, and cords. 

54. What could have been doesn’t matter anymore. I’m more interested in what’s next.

55. He interpreted my being demisexual to mean I wasn’t attracted to him. He was right about that — but wrong to think he could fix it.

56. We never needed a perfect dad — just one that kept trying. 

57. The “functional” bit in functional alcoholic is the word we use to trick ourselves into thinking we’re still in control — or that we ever were. 

58. He had what he said he’d always wanted. It wasn’t enough. 

59. They told her to choose between her own life and that of her unborn child. He chose for her. 

60. After years of waiting for him to see what this was costing her, she finally told him. 

61. Her leash and collar still hang on the hook by the front door.

62. He meant well. But he shouldn’t have used their daughter’s dead guinea pig as his first taxidermy project. 

63. The child had a habit of eating houseplants, and his mother, the “salad queen,” was distracted. 

64. She named her house “the Owlery” and started collecting them on her front porch, one cage at a time.

65. She folded the clothes and gently laid them in the donation box. These were for the woman she used to be. 

66. Ankle-length skirts, demure necklines, muted colors… they no longer had a place in her wardrobe. She smiled and closed the box. 

67. She paused just outside the door, hearing the dance music playing inside. She caught her reflection, and her shoulders sank.

68. She wasn’t used to being missed. So, she hadn’t called to let her parents know when she’d need a ride. 

69. For years he would ask for it, teasing her one day and then resorting to guilt. 

70. She’d burned a CD with his favorite songs, including some he’d introduced to her. She gently laid it near his cold hands. 

71. Every time she heard a dog bark, she’d freeze, waiting to hear it again. 

72. “Why are you grieving? Isn’t this what you want,” she asked. It is, now, I thought. But it wasn’t always.

73. If she were a house, her doors would be locked. But there might still be a way in for someone determined to find it. 

74. Her interview was tomorrow. The clothes would arrive next week. 

75. If there was ever a time for expedited shipping, this was it. She clicked on the box, wincing at the price. He would know.

76. I hadn’t known I was pregnant when I went out that night. 

77. She would have chosen her child. I would have chosen her. The virus chose for both of us. 

78. “Yes, beauty is fleeting,” she said. “But it’s right in front of us, now. Why not enjoy it?”

79. The flowers she’d bought the day before lay wilting on the sidewalk. 

80. “You don’t know how hard I looked for it,” he said. “It wasn’t there.” 

81. The rain and wind suddenly fell silent, and her eyes turned toward the deck window, her face paler than I’ve ever seen it.

82. She rubbed the lotion into her hands absent-mindedly, her fingernails shorter than they were before the movie started.

83. She held her doll to her face while her mother scooped her up and headed out the door. 

84. The dog stood patiently by the door as he always did, waiting for his return. 

85. Our cats all end up in the same place eventually. It’s a busy road. 

86. She’d made her famous noodle casserole for every family that came to hire her husband. This one was different.

87. The phone rang five times before the seven-year-old picked it up. “No one’s here,” he said. 

88. “The only apples that grow on those trees are half-eaten by worms by the time they ripen. You want applesauce? Buy some.”

89. I’d seen him chase her down the road, carrying something and yelling at her. The cops found them both an hour later.

90. They thought he would come when they sent word of his mother’s illness. Only after she passed did they learn the truth.

91. He had the best balance of all of us — and the least fear. 

92. No one could see that he was actually suffocating until he passed out. 

93. The box was empty. All of them were. She looked up with tears in her eyes.

94. Seconds before he pulled the trigger, I realized I was the villain in this story. 

95. Now that I’m leaving, he won’t have to worry about renting storage space for all the things he wants to keep. 

96. I could see that the front door was ajar when I pulled in. I left the engine running. 

97. The curtain fell, and behind it, so did she. 

98. She wasn’t trying to be the perfect mother. She was just trying to get through the day. 

99. She trimmed the crusts off his sandwiches and brought them to his bed. 

100. He has no idea most people aren’t born that way. No one’s told him. 

101. Someone had left the starving animal chained to a fence post in the middle of nowhere. 

Now that you’ve looked through all the sad story prompts and story ideas in this post, we hope you found at least one you’re itching to write about today. Jot it down, along with any ideas that come — snippets of dialogue, setting details, etc. 

Then pick a time and let those words flow. 

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BEST SAD WRITING PROMPTS

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The best sad writing prompts

One great thing about creative writing prompts is that they are always there for you, especially when you want sad writing prompts. Writing is a beautiful outlet to engage with life and the world around us — and sometimes, it's the only way to deal with something painful or raw.

If you’re a writer who’s looking for some sad writing prompts to help get you in touch with your feelings or deal with such themes as love and death, this page is for you. We hope that it provides you with the inspiration that you need. 

If you're looking to cut to the chase, here’s a list of top sad writing prompts:

• Someone in the story has a lot of hard lessons to learn.
• Write a story about someone tired of their day-to-day routines.
• Write a story about someone who loses their cat.
• Write a story based on the metaphor: "Beauty is a fading flower."
• Write a story inspired by this quote from Ally Condie: "Growing apart doesn't change the fact that for a long time we grew side by side; our roots will always be tangled. I'm glad for that."
• Write a story that feels lonely, despite being set in a packed city.
• Write a story that starts with two people saying goodbye.
• Write about one character’s fundamental misunderstanding of another character’s job.

If you’re interested in becoming an author, check out our free resources on the topic:

• Character profile template (free resource)  — All stories are character-driven, and it might be argued that this is especially true for sad stories. If you want to figure out what’s driving your character’s emotions, this free character profile template is here to help. 
• How to Write Believable Dialogue that Develops Plot and Character (free course)  — If your story requires your characters to navigate some difficult conversations about sadness, you may find this helpful. Dialogue is one of the most important writing tools that can drive character and plot. Let this free ten-day course show you how.  

Ready to start writing? Check out  Reedsy’s weekly short story contest  for the chance of winning $250! You can also check out our list of  writing contests  or our directory of  literary magazines  for more opportunities to submit your story.

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How Fiction Writers Can Show Emotions in Their Characters in Effective Ways

Editor Robin Patchen wraps up our examination of Fatal Flaw: # 6 Show, Don’t Tell. Writers often succumb to this fatal flaw of fiction writing, explaining and telling and summarizing instead of showing action as it’s happening. Robin gives some great tips on how writers can show by action and thoughts rather than by relying on describing bodily sensations. Be sure to pay attention to this one! (If you missed this month’s post on this fatal flaw, start with this one here .)

This month, we’ve been studying that famous axiom for fiction writers: show, don’t tell. Today, I’m going to tackle what I think is the most difficult thing to show in our novels—emotions.

If you’ve been writing for a while, no doubt you’ve heard it’s not acceptable to name emotions. Don’t tell us Mary is sad. Show us she’s sad.

Many writers lean on a clever trick to show emotions—they describe a character’s physical reactions to emotions. So characters are often crying, yelling, and slamming doors. Their stomachs are twisting, their hands are trembling, and their cheeks are burning. We hear exasperated breaths and soft sighs. Don’t even get me started on heartbeats. Some characters’ hearts are so erratic, I fear they’re going into cardiac arrest.

So What’s a Fluttering Heart to Do?

I’m poking fun, because I do it too. It’s an easy way to show emotions. But I have a few problems with this old standby. First, these things are so overused, they’ve become cliché. (I know your stomach is twisting at the very thought.) Second, having a character clenching his fists might show us he’s angry, but it doesn’t show us the impetus for that anger. Is he feeling frustrated, slighted, or jealous?

All those—and a host of other primary emotions—can lead to anger. Finally—and to me, this is the most important—showing me your characters’ physical responses provokes no emotional response from me. Your hero might clench his fists, but I promise, mine will remain perfectly relaxed. So you might have shown an emotion, but you haven’t made your reader feel anything. And that, my friends, is the point of fiction—to elicit an emotional response.

Let’s take a look at some effective and not-so-effective ways to show emotion.

Mary opened her eyes and looked at the clock. Her heart nearly leapt out of her chest. The baby had slept nearly eight hours. But little Jane never slept more than four hours at a time. Something must be wrong.

Not again. Her stomach rolled over when she remembered the last time a child of hers had slept too long.

Mary flipped the covers back and stood on weak knees, forcing herself to her feet despite the fear overwhelming her. She shoved her arms in her bathrobe, slipped into her warm slippers, and rushed for the door. Her hands were shaking so badly she could hardly turn the doorknob. Finally, she got the door open and ran down the hallway toward the nursery.

She threw open the door and lunged at the crib. She peered inside and saw the beautiful pink cheeks of her newborn daughter. She placed her trembling hand on Jane’s back, felt the even breaths, and let out a long sigh. Tears of gratitude filled her eyes as she realized her baby was alive.

Our character is definitely feeling emotions. Do you think I can get the reader to experience a few of them? I’ll give it a try.

Mary opened her eyes and squinted in the sunshine streaming in through the open window. She stretched, feeling more relaxed than she had since . . .

She sat up and looked at the clock. It was after eight. Little Jane had slept through the night. For the first time.

Just like Billy.

Mary flipped the covers back and stood. She snatched her robe from the back of the chair and slipped it on. She wouldn’t think about Billy. The doctor said it wouldn’t happen again. The odds against it were astronomical.

Billy had been nearly six weeks old. Jane was almost two months. It was different this time. It had to be.

She slipped her feet into her fuzzy slippers, ticking off all the ways the situations were different. Billy had been sick. Jane had never even had a sniffle. Billy had been fussy. Jane was nearly the perfect baby, only crying when she was hungry or wet.

She must be both hungry and wet right now, but little Jane was silent.

No, God wouldn’t do that to her again. She couldn’t bury another child. She wouldn’t.

She stepped toward her bedroom door, remembering Billy’s skin, how gray and cold it had been. At first, she’d thought maybe someone was playing a mean trick on her. But then she’d lifted him. Seen his face. Those gray lips and lifeless eyes.

Maybe it would have been different if she hadn’t been alone when she’d found his tiny body. Maybe if John had been there. But John had been gone on a business trip.

Mary turned and looked at the empty bed. Her side was a jumble of blankets. John’s side was untouched. He was on a business trip. Again.

He’d rushed home that day two years earlier, assured her it wasn’t her fault. How could she have known?

How indeed? How did a good mother sleep through her own child’s death? How did she dream of beaches and butterflies while her son passed into eternity?

If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.

She stepped into the hallway and took a first step. A good mother would run, but she could hardly force herself to walk. She inched her way down the hall.

She glanced at the stairs. What if she went to the kitchen, made some coffee? Never found out the truth?

She pushed the thought away and continued past the staircase, paused at the nursery door, and laid her hand on the cold metal doorknob. The clock ticked loudly in the hallway, like a steady heartbeat.

She stepped into the room and approached the crib. And there, sprawled on her back, lay the most beautiful sight she’d ever seen.

Jane’s eyes opened at the sound of Mary’s approach, and she smiled.

I hope you had at least a twinge of emotional reaction to that. I know I did. Please notice, there’s not a single beating heart or trembling hand in that example. Her stomach doesn’t clench, and her eyes don’t fill with tears. Yet she felt a lot of emotions. Did you?

Slow It Down

Counselors tell us that thoughts lead to emotions, and emotions lead to actions. As a writer, you can easily show your character’s thoughts and actions. Readers are smart enough to deduce the emotions based on what the characters think and do. So often it seems writers are in a hurry.

When you have a very emotional scene, slow it down. Let us hear your character’s every thought. Highlight a few details. Show the actions.

Why don’t we write like this? For one thing, it takes a lot longer. My first example is fewer than two hundred words and took me about five minutes to write. The second is closer to five hundred and took nearly half an hour.

Writers have to dig a lot deeper to write selections like the second one. I had to remember what it was like to be a new mother, put myself in the shoes of a woman who’d already buried one child, and try to feel what she would feel. Not comfortable, let me tell you.

And you see a bit into my soul, don’t you? What kind of mother would even consider going downstairs and making a pot of coffee? Yet as I put myself in that scene, I looked at the stairs, and I thought about it. Showing emotions means baring your soul.

Sure, it’s fine to have some lines showing emotions by way of bodily response. But don’t limit yourself to that technique. I hope this example helps you see ways you can elicit emotion in your reader through thoughts and actions.

But showing emotions can pull your reader in and get them to feel right along with your hero and heroine. And isn’t that the goal?

What stood out to you as you read the After example? What lines gave emotional impact?

Want to master the emotional craft of fiction?

Dive into the online course emotional mastery for fiction writers .

In this course, you’ll be given tools to  show  emotions in your characters. You’ll be given techniques to help  spark  emotional response in your readers. What is going to bring it all together for you is practice. Study and practice. And you’ll have exercises in this course to help you put into practice what you learn.

Emotional mastery requires writers to set up the dynamics of a scene in such a visual, textural way that readers can’t help but feel what they are meant to feel. Understanding that emotional mastery requires  a twofold approach — the emotional landscape of both the character and the reader —is the first step.

Want to learn how to become a masterful wielder of emotion in your fiction? Enroll in my new online video course, Emotional Mastery for Fiction Writers.

You’ll get lifetime access to all the videos and more than three dozen downloadable assignments. And with a 30-day money-back guarantee, you have NOTHING to lose by jumping in. Sign up NOW.

This course will challenge you to become an “emotion master.”  Are you ready and willing to go on this journey deep into emotional territory? If you want your characters to move your readers, take the plunge!

Listen to my discussion on how to show emotion in characters. There is so much to this topic!

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102 Comments

I found this article very helpful. It’s a delicate balancing act to slow down the action enough to heighten the emotion but not so much as to cause the reader to skip through the scene because they want to get on with it. You’ve given some good examples for doing just that. As always, another great piece of advice, C.S.!

If you think the reader might skimp over the scene. You might want to re-write it. Every scene in a story has to build up emotion and anticipation to progress head on from scene to scene.

I absolutely loved this article, and I 100% AGREE with your logic. Thank you for sharing!

One of the best posts I have read on the subject. Thank you for the great example!

Great advice, Robin!

You’ve gotten to the ultimate solution here: the truly effective approach is to describe *why* the person is feeling what he or she is, rather than the exterior symptoms.

Thanks, Curtis. I definitely think that’s a big part of it–at least one element of showing emotions. Of course we couldn’t do this with every single emotion–imagine 500 words to replace every frown. But when the emotions really matter, I think they’re worth examining.

This is one of the best articles I’ve read on this subject. You really bring it to life with your example.

Thanks! I’m glad you think so.

I’ve been often critiqued that my characters must have more emotion by showing their facial expression and bodily response to situations of distress. I can fully understand from your example how much I have dismissed all these factors by summarizing their feelings. Thanks for such a vivid example of how to convey feelings without putting a label on them.

Glad it helped. I think sometimes, we believe that the physiological reactions are the only way to show feelings, but personally, I’d much rather know what’s going on in people’s heads. Ever look at someone and think, “What is he thinking?” What’s on their face doesn’t tell us what we really want to know.

“If Jane was dead, Mary would join her. Somehow. She couldn’t live through this again.”

This line stood out to me. It puts the reader in the state-of-mind the character is in at the moment. Thanks for the article.

Kind of depressing, though, isn’t it? I’m glad it stood out.

This is a great article! You’ve really “shown” the difference very effectively 🙂

Great article! I like the contrast between showing exterior vs interior. The other trick is doing this with Deep POV.

To answer your question…I felt every bit of what the mother was experiencing. You’re an extremely talented writer. Slowing it down is so important, yet since it’s time-consuming I find myself breezing over it, too. During my second drafts I’m often horrified at the heart-fluttering, weak knees, and shaky hands in my first draft. Using subtext instead of body cues is what I’m working on now before I send my ms back to the editor. Stellar post!

My first drafts have a lot of breathing–sighing, blowing out breaths, holding breath. I think my characters might suffocate if I don’t show them breathing. 🙂 The key is to leave that stuff in draft #1.

Thanks, Sue!

nicely shown

This is very helpful. Thank you for posting this.

I do have one question though. Do you ever feel like you can overdo the inner dialogue? For example, Kurt Vonnegut once said that every sentence should either reveal character or advance the plot. How do you decide how much inner dialogue is revealing character and how much is just killing your pacing?

Is it just experience and a good ear?

Genre plays a big part in determining this! I have read suspense thrillers that are hugely internal thought, packed full of worrisome thoughts to ramp up the emotional tension. Getting in close to what a character is thinking while afraid can make the reader feel that fear. For other genres, and personal author writing styles, such as Cormac McCarthy’s, you’ll see almost no internal thoughts at all. Internal dialog can both reveal character and advance the plot, so Vonnegut’s sage words apply here as well. Best is to study other great novels in the genre in which you are writing and note (highlight?) all the lines of internal dialog and their content to see just what that amount is.

That’s great advice. Thank you!

That’s a great question, Paul. Susanne’s advice to study other great works is great.

You certainly wouldn’t want to have this much internal dialog all the way through a book. It needs to serve a purpose. In this case, we want to get the reader emotionally invested in the scene, and the best way to do that is to let us see what the character is thinking. But if the hero is deciding between a bagel or a donut, you wouldn’t want to show us his calculating the calories of each. That would get old fast.

At first, it can feel unnatural, but I think the more you write, the more intuitive it becomes.

This is a great article. I know I’m certainly guilty of getting lazy and writing scenes as I see them instead of delving into the character. I’m about to begin revision, and I can already think of places I need to expand and deepen. Thanks for the insight!

So glad it helped, Victoria. Good luck with your revisions.

This is the best example I’ve seen on this subject! I’m so glad I found it. My stories end up being like the ‘before’ and I never really liked it. It felt like something was off. You’ve really opened my eyes. I tried this on a scene I was working on and now it sounds much better! Now I must look for more tips and keep on writing.

All I can say is thank you. Shalom aleichem, Patricia

In the ‘After’ example, it was her questions that showed her doubts and her fears. That gave me the emotional response.

A good observation, Mawr. Thanks for stopping by.

I like how you demonstrate internal thoughts in third person. Many writers want to switch to first person in italics. To me this loses the continuity of the story. So right, body movements and facial expressions keep the reader on the outside of the character. Your before and after is so helpful! Thank you!

Thanks! Glad you found it helpful.

Wow. This has helped a LOT! I’ve had more compliments on one scene that I did this with, but didn’t really know concrete what I was doing. The difference was I put myself there, slowed down, and actually physically moved the way the character would, felt what she would have felt. It was amazing. Thank you so so much for sharing!!

Glad this helped you! Being aware of this can really improve the emotional impact of your scenes.

So glad it helped, Kelly.

Excellent article. Always eager to collect knowledge like this. Thank you.

This is great, but it bothers me slightly. This “slow” method of writing matches the woman’s trepidation and reluctance to learn the truth. But often emotions are felt, and acted on in an instant, and I’m rather uncomfortably aware of the fact that describing something in detail can turn a couple of seconds into a page or more.

That’s true. Sometimes it’s appropriate to slow down a moment. Sometimes, it’s not. You have to use your best judgment.

This opened my eyes to why writers have to pace a story. Just earlier, I was editing and rewriting parts of my story. It took hours, but it was worth it in the end.

I think the line that stuck out to me was, ‘How did she dream of beaches and butterflies while her son passed into eternity?’

I don’t even know how to describe why I like this line so much. I just do.

Thank you for this wonderful article. Otherwise, I wouldn’t have completely understood why pacing and emotions are so important in writing.

Thank you, Mini, for your response. I’m so glad the article worked for you. I loved that line, too. I need to find a place to use it in a book!

Great article. This is what I need to improve my writing. In your example it might go too long and it gets repetitive with the woman’s fears. If it was a tad shorter might be better. Just a thought. P

You may be right. Thanks for the feedback.

Great article. Is it say that I thought the first version was good? The second version elicited a deeper emotional experience, but I thought it told a lot. I can’t seem to find that line. The first version was active, but it did have the typical overdone descriptions. Then I read other books, and I see all sorts of contradictions from what I learn on writing sites. Sighing, knees wobbling, lips curling, eyes narrowing, jumping back, staring. I thought relying on action was great! I thought I found it….back to the drawing board.

Susanne gives good advice. I don’t have an answer. First pass, my characters do a lot of breathing–sighing, heaving, inhaled frustrated breaths. It’s as if I fear they’ll suffocate if I don’t have them breathe a couple of time son every page. 🙂

My characters’ eyes are lighting up all the time, and I have character beaming. Subject verb direct object. How do I break from this tyranny? lol

Maybe pull the plug?

the best way! im thankful to u

Excellent article — successfully writing emotion is something I struggle the most with, this is a great help.

Excellent post. I want to write with more emotion. Thanks for the great example. gramswisewords.blogspot.com

Glad it helped, Maz!

As a young writer I constantly have the “show don’t tell” philosophy thrown at me and I have read countless posts telling me that “if you’re telling the emotion even just a little bit rather than just completely showing it, you’re doing it wrong” blah blah blah, you get the picture. So to read this post has definitely changed my perspective on the delicate handling of emotion. You have demonstrated, in my opinion, a perfect balance of show and tell, so that I haven’t just been informed of the character’s feelings, their responses to traumatic events, and their life-but rather I’ve been whisked right into the character’s life to watch it all unfold. So many books I’ve read have just informed me that “oh the character is sad” as if the author is just like, hint hint wink wink-this is the part where you, the reader, should be sad too. Preferably crying over my character. Or they just say, this person is so angry they’re gritting their teeth. Like be angry at the villain because my character is angry at the villain.

But I feel nothing, because they’ve shown me how the character is feeling but they haven’t grabbed the reins of my emotions and MADE me feel for the character. If you get what I mean haha Anyways, sorry for the long comment but yeah, I just wanted to say thank you for this article-it was incredibly helpful 🙂

Glad it helps! You might like to read more about that in our 12 Fatal Flaws book. I do a whole PowerPoint workshop on this topic. I think it’s so much more effective to show what a character is thinking to evoke emotion.

I’m so glad you found the article helpful, Hannah! I know what you mean. There’s a big difference between showing an emotion and evoking an emotion. It’s much harder to do the second.

Thank you so much!! I was really struggling with the concept and I tried some other articles but this one helped the most by far. Once again, thank you so much!!

I’m so glad you found it helpful!

“How did she dream of beaches and butterflies while her son passed into eternity?” This line really got to me. I think because I would think something similar. How could I not know? How could I laugh or dream and live while someone I love is dying?

When my mother died I was at work in the stock vault. I had forgotten my phone on my desk and when I got back to it my coworkers were looking at me and saying my phone had “blown up”. They all knew my mother was sick in the hospital dying and when I got back to my desk they all knew what I did not, that she had died while I was in the vault, chatting with my colleagues. So yeah that line got to me and brought back that memory.

Perri, what a difficult memory for you that must be. I’m sorry to have brought it back. On the other hand, if the goal is to elicit an emotional response, I suppose I did manage to do that. Thank you for the note.

No, I will never refrain from telling emotions directly, and I will not read fictions which shows emotions instead of telling. Showing is necessarily ambivalent and results inevitably in incomprehensible drivel.

Interesting take on it, Klaus. Thanks for the note.

This opened my eyes in so many ways. I am deeply grateful to you for the simple solution to a complex issue in writing… Making an old emotion sound fresh as though it is felt for the first time is simply not easy. This was easy to read, and it brought feeling immediately. Thank you

So glad you found it helpful, Charlotte!

I’m sorry but the first part was the right part for me. The second was way to long and I lost interest. I feel this is the problem often. To each their own offcourse, can’t please everyone 🙂

Damn, I was thinking the same! I enjoyed the first part so much better than the emotionless descriptions about how she had to bury Billy. The stomach rollover literally gave me a melancholic feeling which didn’t happen with “God wouldn’t do the same to her”

Thank you for this article. I would like to study some of the great novels for expression of emotion. Any recommendations?

Amazing advice! This is the toughest part of creating a flesh and blood character for me. How would u apply this to first person voice?

You can just change “she” to “I” and it’s the same thing, basically. There really is no difference between first person and third person when doing deep POV.

Yes, I cried. This is the most effective article I’ve ever read on the subject of “Showing” and I recommend it to writers often. Please, never take this post down!

I didn’t mean to make you cry, J.D.! 🙂 I’m glad you found it helpful. God bless!

Still taking this article in. Have printed it off for easy reference and example. Thank you for posting this.

Stephen King does it well, by getting the protagonist to get involved deeper and deeper into an emotional state which reach a tempo unbearable.

My pleasure, Virginia. I’m glad you found it helpful.

Some good points in the way you show emotions. “Her heart nearly leapt out of her chest.” This one looks too cartoony, and nearly is an adverb [use prohibited by good writers I am told.]

The occasional adverb is acceptable, but you’re right, the line is cartoonish. That’s one of my issues with all the physiological reactions to “show” emotions–they’re exaggerated, often to the point of becoming ridiculous.

Wow, this is good writing. Hair literally stood on its ends, as I read the second rendering, even though I knew baby Jane was safe from reading the first version.

Amazing bit of writing. Thanks for the article.

But isn’t this kinda too intense for a reader? I can read the occasional paragraph like this but as a reader, I would be a nervous wreck if I had to read an entire full length novel written in this style.

Sometimes, maybe the tell is much better than show – like those ‘implied’ scenes in movies, rather than an explicit scene.

Would you recommend that a writer sticks to this POV for the entire novel or only use this occasionally? And if the latter, what kind of scenes might call for this?

Hi Badri, of course you wouldn’t have this intense a moment in every single scene in a novel. Novels should have low-energy and high-energy scenes, low- and high-action scenes, low- and high-emotional scenes. As far as POV goes, that applies to the viewpoint: whether you are in first, second, or third person. I’m not sure what you are asking, but if you mean going into deep or intimate POV, that’s a style choice and would be consistent throughout the novel.

Like CS said, not all scenes are this intense. The point is to show emotions through thoughts and actions rather than through physiological responses. So if your character is feeling happy, show the happy thoughts. If she’s feeling angry, show angry thoughts. It wouldn’t be appropriate to get this deep into every emotion, though. That could be cumbersome.

I am a very later bloomer in writing (and reading as well, I’m embarrassed to say). When I would read anything that invoked emotions as a child or young adult, I could not handle it (due to many different things going on in my life). But I am now at a different place and I am finally discovering how much I enjoy reading, well, I really mostly enjoy reading that makes me feel the emotions like your posting did.

In your first take I was thinking, oh get over it already lady…I never really liked babies anyway, we all gotta die sometime…etc… (lol, exaggerating here of course). But in your revised version, I was on tears and on the edge of my seat, thinking, that poor mother…that poor little baby…no no no…nothing can happen to that beautiful little baby…

I was shocked at the difference of my own response.

I have contemplated trying to become a writer and this posting has inspired me so much. This is now my goal – to write something that makes a reader feel this much emotion. Thank you sooooo much for sharing this.

The author of the article did a magnificent job conveying her lesson. I would offer a little insight into child loss, however. A parent never gets over losing a child. It will not happen, as a part of their heart has been torn away, outside of the natural order. Even though you may not know the experience, please do not belittle it, or those going through it. Good luck with your writing, as you walk this path with us.

I understand the concept behind it the “after”, but I have woken up before worried my baby was dead because she slept through the night… and the last thing I would have done is slip on my cozy slippers. I definitely didn’t take 10 minutes to think about if she could be dead before checking on her. So in reality — the before felt a little closer to truth to me, it was just felt a little extreme on the visceral emotions. Maybe it is just me.

Thank you for the article, even though the example didn’t resonate with me, it was an excellent example to get the point across.

I’ve been writing novels for over a decade. Finally,I understand it is the process rather than the physical manifestations of an emotion, alone, that conveys emotion to the reader! Thank you for such an intriguing insight, and thank you to my editor Beth Terrell for steering me to your blog.

Glad you arrived here! Be sure to check out my online course, too, as it goes way deep with 40+ passages examined!

So glad you found the post helpful, Jennie!

What I was able to read of the AFTER piece was wonderful. Unfortunately, the situation hits far too close to home for me, and I couldn’t finish it. You absolutely nailed it, though. The first one did not bring forth the same emotion in me the second one did. Further, the emotion built as you advanced, thus my reaction. Yes, I shed a few tears before I was able to write this reply. Thank you for this article, the insight and the advice. I will take this to heart, as I continue learning the craft.

Thanks for sharing those sentiments. I’m sorry this was/is painful for you.

I’m sorry for raising these painful memories for you. Thanks for the comment. God bless you.

Please, don’t be sorry. It is a part of life for parents who have lost a child. However, the way you wrote the piece was marvelous. That it was so powerful is a testament to the example you built. Well done. It is a wonderful lesson.

To answer the question on what stood out the most, I would say it was the last sentence. It was the baby smiling that gave me the strongest emotional response. Starting to read the text, I didn’t really “plan” to get a tear in my eye, because I find it all too easy to shield myself from the sad stuff, even though I would like to feel more directly. But fortunately, the moment of beauty and joy in the end got to me. It took me by suprise and managed to break through my shield. I will try to incorporate this in my own writing.

Fantastic article and it helps me a lot. At the point when I write, I attempt to recollect what I feared or what was terrifying to me and attempt to place those sentiments into books.

Omg! I loved this, thank you so much for sharing.

The same old story, to show emotions with your characters. SHOW don’t TELL!!!

Excellent post. It is feasible to submit no mix-ups and still lose. That isn’t a shortcoming; such is reality. This article really helps me a lot. Thanks for posting.

This was a very engaging post. It has provided me with new information and now I have a better idea of how I can represent emotion within a fictional character. Also, the example that you provided was written so well! You have given me so much inspiration and I can tell that you are a very hard worker and are dedicated to what you do. Thank you so much.

You’re very welcome!

I’m so glad, Elise, that you found the post helpful! God bless you and your writing.

I think I’m missing something. Can anyone please clarify the differences between the two examples because they both use body language to indicate emotions. If anything, the before seems better because it includes body language *and* internal reaction. The after only uses body language.

The article explains what the differences are and why using thoughts is so much more emotionally effective than showing body language. The After version uses no body language (physical tells). The thoughts are what get readers to understand and empathize with characters.

Neither the Before or After work. As for the Before, who writes like that? Must be a really rank beginner. As for the After, I spent the whole time while reading it thinking, “Not only is this ridiculously long, but no panicked mother is going to take the time to slip into her robe, put on her slippers, and have a coherent thought-stream going through her head about what happened to her other child.” No. She’s going to dash to her baby. Time for these other thoughts–or rather, an abbreviated version of them– can come as she’s cuddling her child. Perhaps better yet, put these kinds of thoughts in an earlier chapter, as background material. Then she can just fly out of bed and run to her child, and some further reflection can come when she’s found the baby safe. This is a time to act, not reflect.

Thanks for your comments. Everyone is different, and depending on the kind of character we create, they will respond differently. I would be exactly like that second example. I did similarly when I woke and hadn’t heard my baby cry at night. I put off going in as long as I could. Of the hundreds of writers I’ve shared these examples with in workshops, 99% agree with the second one as the more moving, effective, and believable example. As I said, everyone is different. But it’s all about your character–her past, who she is, etc. You might try to write this scene and then run it by critique partners and see what their response is to the way you present the character. It might be enlightening!

As a fairly new writer, I have a question that might seem silly, but it’s one that I’ve often debated. I have a tendency to spend way too much time on the scenes as I write them. I’ll go back, and back again, until I feel like it’s perfect … until I don’t. At this point I am 15,000 words in and have probably spent enough time on the chapters that I have done to have completed two novels.

Experienced writers, keep telling me to just write, and finish the first draft. Do you feel it would be appropriate to draft scenes like example #1 and then come back to add emotion like example #2 during the second draft? After reading your article, I have found myself going back to my completed chapters once again, and looking for opportunities to add emotion. I don’t feel like this is productive. Any advice?

I hear you! I constantly rework and edit as I go along, and usually by the time I complete a draft, it’s finished except for proofreading. However, I always push to make progress. If you set a goal to write at least one scene, however rough, every time you sit down, you can give yourself permission to go back and noodle with whatever you’ve written–that scene or a prior one–to polish it more. But the point is to make progress. If the problem is you are “pantsing” and don’t have a strong outline such that you don’t know what your next scenes will be, that can cause a lot of procrastination. Work on a scene outline (with me!) and get it tight. Then it won’t create a barrier to you getting those next scenes written. Usually redoing scenes over and over is due to not feeling confident where the story is going 🙂

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How To Write a Sad Scene: A Full Guide With 10 Examples

Writing a powerful, heart-wrenching scene is a skill that every writer aspires to master.

Here’s how to write a sad scene:

Write a sad scene by using narrative techniques like vivid imagery, emotional dialogue, symbolism, and relatable emotion. It is also helpful to know the types of sad scenes. Examples of sad scenes include loss of a loved one, heartbreaking goodbyes, and unfulfilled dreams .

In this comprehensive guide, we will explore how to write a sad scene that will move your readers to tears.

We will break down this process with 10 detailed examples, illustrating various techniques used by successful writers to evoke intense emotions.

Understanding the Importance of Sad Scenes

Table of Contents

Before diving into the specifics, let’s discuss why sad scenes are critical to a narrative.

These scenes are a cornerstone of storytelling, allowing readers to connect deeply with characters and their plights. They create a poignant, relatable narrative, and they challenge the characters, pushing them to grow and evolve.

Here is a shortlist of reasons sad scenes are so vital to storytelling:

• They create a sense of authenticity and realism in the narrative, as sadness is a natural part of the human experience.
• These scenes can challenge the characters and push them to grow, leading to a more dynamic and compelling story.
• Sad scenes can provide contrast to more uplifting or joyful moments in the narrative, making those moments stand out even more.
• They can also serve as a means of catharsis for readers, allowing them to process their own emotions and experiences through the characters in the story.

Essential Elements of a Sad Scene

Crafting a sad scene that resonates with readers involves a delicate balance of various elements.

Let’s explore these components in greater detail.

Authentic Characters

Character authenticity is a crucial component of any impactful sad scene.

Characters should be three-dimensional, possessing unique qualities, motivations, and flaws.

They should react to situations in ways that align with their personalities, ensuring that their responses are believable and genuine.

For instance, if a typically stoic character breaks down, the buildup to this point should be crafted carefully, indicating the immense pressure or grief they’re experiencing.

This keeps their reaction consistent with their character, making their eventual breakdown even more impactful.

High Stakes

High stakes are a significant element of any dramatic scene, especially a sad one.

The impending loss or consequence should be severe enough to matter deeply to the character, whether it’s the loss of a loved one, the end of a relationship, or the failure to achieve a life-long dream.

The stakes don’t always have to be life-altering, but they should be substantial to the characters involved.

The intensity of the characters’ emotions often parallels the magnitude of what’s at stake, heightening readers’ emotional investment in the story.

Relatable Emotions

For readers to feel the sadness of a scene, the emotions depicted must resonate with them.

This means the characters’ feelings should be portrayed in a way that is universally relatable.

Even if readers haven’t experienced the exact situation your characters are going through, they can connect with the underlying emotions. Feelings of loss, regret, disappointment, and longing are universal.

Showcasing these emotions authentically helps readers put themselves in the character’s shoes and feel their pain.

Impactful Narrative Techniques for Writing Sad Scenes

Narrative techniques can enhance the emotional resonance of a sad scene.

These might include:

• Vivid Imagery . Detailed, vivid descriptions can help readers visualize the scene, making the sadness more palpable. The imagery can reflect the mood of the scene, using symbols, colors, or weather patterns to underscore the characters’ feelings.
• Poignant Dialogue . Emotional dialogue can heighten the intensity of a sad scene. The dialogue should reveal the characters’ feelings without explicitly stating them, allowing readers to infer the depth of their pain.
• Internal Monologue. A character’s thoughts and reflections can provide insight into their emotional state. By revealing a character’s innermost feelings and conflicts, you can help readers understand their sadness on a deeper level.
• Pacing . The pacing of a scene can significantly influence its emotional impact. Slowing down the narrative during a sad scene allows readers to fully experience the characters’ emotions. Conversely, a faster pace can heighten the intensity of a sudden tragic event.
• Foreshadowing and Flashbacks. Foreshadowing can build anticipation, while flashbacks can provide context that makes the present situation more poignant. Both techniques can deepen the emotional resonance of a sad scene.

By integrating these elements effectively, you can craft a sad scene that leaves a lasting impact on your readers, eliciting deep emotional responses and enhancing their engagement with your narrative.

Here is a good video about how to write an emotional scene:

10 Examples of Sad Scenes and Techniques Used

Let’s examine how the techniques discussed above can be used in different types of sad scenes.

Each example includes a detailed breakdown of the techniques used to evoke sadness.

Example 1: The Loss of a Loved One

A powerful sad scene often involves the loss of a loved one.

This universal experience can evoke strong emotions in readers, as they can easily empathize with the character’s grief.

Here’s an example:

Sarah sat alone in the silent house, surrounded by the remnants of a life that was no more. The scent of old books and Earl Grey tea lingered in the air, a cruel reminder of him. His favorite chair sat vacant, the worn-out leather cold and unyielding. She reached out, half-expecting him to materialize and envelop her in his warm, comforting hug. But all she clasped was emptiness, a void that echoed her own heart.

Techniques Used:

• Vivid Imagery . The description of the silent house, the vacant chair, and the lingering scent creates a vivid picture of Sarah’s loss. The sensory details make the reader feel as if they’re in the room with Sarah, experiencing her grief firsthand.
• Symbolism . The empty chair symbolizes the absence of the loved one, reinforcing the sense of loss.
• Internal Monologue . Sarah’s action of reaching out for her loved one and her reaction to the emptiness gives us a glimpse into her inner thoughts and feelings, making her grief more palpable.

Example 2: A Heartbreaking Goodbye

A sad scene can also involve a heartbreaking goodbye, where characters part ways, possibly forever.

This type of scene can evoke strong emotions in readers, as the possibility of never seeing a loved one again is a universal fear.

As the train whistled in the distance, John grasped Emily’s hands, his eyes reflecting the sorrow that clung to his words. “I wish things were different, Em,” he murmured. His voice broke on the last syllable, and Emily felt her heart fracture along with it. She forced a smile, her tears glistening in the cold winter sun. “So do I, John. So do I. “

• Emotional Dialogue . John’s words, along with the break in his voice, convey his sorrow, making the reader feel the weight of their goodbye.
• High Stakes . The impending departure raises the stakes, intensifying the emotion of the scene.
• Vivid Imagery . The description of Emily’s tears glistening in the sun creates a poignant image, heightening the sadness of the scene.
• Relatable Emotion . The characters’ regret and longing are relatable emotions, deepening the reader’s emotional engagement.

By using these techniques effectively, you can evoke powerful emotions in your readers, making your sad scenes resonate deeply with them.

Example 3: An Unfulfilled Dream

The failure to achieve a long-cherished dream can provide the foundation for a deeply moving scene.

The disappointment and heartbreak associated with such an experience are emotions most readers can identify with.

For years, Mary had worked tirelessly, her dream of being a dancer fueling her every move. But as she stared at the rejection letter, the finality of it washed over her. The studio was silent, save for the sound of her dream shattering into a million pieces. She fell to her knees, the cold dance floor a stark contrast to the warmth of the dream that had once lived within her.

• Vivid Imagery . The description of the silent studio and the cold dance floor creates a powerful image of Mary’s disappointment, making her unfulfilled dream feel tangible to the readers.
• Narrative Voice . The narrative voice mirrors Mary’s despair, heightening the emotional impact of the scene. Phrases like “the sound of her dream shattering” and “the warmth of the dream that had once lived within her” underscore the depth of her disappointment.
• Relatable Emotion . The feeling of disappointment when a dream remains unfulfilled is universally relatable, deepening the readers’ emotional connection to Mary.

Example 4: The End of a Friendship

The end of a deep friendship due to a misunderstanding can lead to a powerful sad scene.

The loss of a trusted confidant can resonate deeply with readers, as it’s an experience many have faced.

Jacob and Sam had been inseparable since childhood, their bond stronger than brothers. But as Jacob read Sam’s harsh words, each sentence was a blow, tearing at the fabric of their friendship. He remembered their shared laughter, their secret dreams, their unspoken understanding. Now, all that remained was a chasm of misunderstanding, widening with every painful word.

• Emotional Dialogue . Sam’s harsh words, as perceived by Jacob, convey the depth of their misunderstanding, creating a sense of authenticity and immediacy.
• Flashbacks . The memories of their shared past highlight the depth of their lost friendship, intensifying the sadness of the scene.
• Emotional Conflict . The misunderstanding between Jacob and Sam creates emotional conflict, adding complexity to the scene and making it more poignant.

Example 5: A Regretted Decision

A character experiencing regret over a past decision that has led to current misery can form the basis of a sad scene.

Regret is a powerful, universally relatable emotion, and readers can easily empathize with the character’s pain.

Ever since that fateful day, regret had been Paul’s constant companion. He replayed the scene in his mind, wishing he could go back, make a different choice. But time, like the tide, was relentless and unforgiving. He was left stranded on the shores of remorse, the waves of past decisions lapping at his feet, a bitter reminder of what could have been.

• Internal Monologue . Paul’s reflections on his past decision give us insight into his emotional state, making his regret more palpable.
• Vivid Imagery . The description of Paul stranded on the shores with the waves lapping at his feet creates a potent image of his remorse, amplifying the emotional impact of the scene.
• Symbolism . The tide symbolizes the passage of time, reinforcing the theme of regret and the impossibility of changing past decisions.

By carefully employing these techniques, you can craft a moving sad scene that deeply resonates with your readers.

Example 6: Witnessing Suffering

A scene that involves a character witnessing the suffering of another can trigger deep emotions.

The character’s helplessness to alleviate the suffering can amplify the sense of tragedy.

Laura watched as her mother struggled to remember her name, the cruel tendrils of Alzheimer’s erasing their shared past. She reached out, gently cupping her mother’s face, her heart aching at the vacant stare. ‘It’s Laura, Mom. Your daughter, Laura.’ But the words, once a source of comfort, were now lost in the labyrinth of fading memories.

• Vivid Imagery . The description of Laura’s mother’s vacant stare and the fading memories creates a potent image of the suffering, evoking strong emotions in the readers.
• Emotional Dialogue . Laura’s attempt to remind her mother of her identity adds a layer of emotional depth to the scene, making the readers feel Laura’s desperation and sadness.
• Powerlessness . Laura’s inability to restore her mother’s memory amplifies the tragedy of the scene, deepening the sense of sadness.

Example 7: A Sacrifice Made in Vain

A character making a significant sacrifice, only for it to be in vain, can result in a poignant sad scene.

The futility of the sacrifice enhances the feeling of loss.

After years of toil and sacrifice, working two jobs, missing family gatherings, James had finally saved enough to buy his parents their dream home. But as he stood in the hospital corridor, the joy of his surprise turned to ashes. The dream home would remain just that – a dream. He arrived just in time to say goodbye .

• Dramatic Irony . The readers’ awareness of the futility of James’ sacrifice before he does amplifies the tragedy of the scene.
• High Stakes . James’ sacrifice raises the stakes, intensifying the emotional impact.
• Narrative Voice . The narrative voice reflects James’ devastation, mirroring his emotions and increasing the readers’ emotional engagement.

Example 8: The Fall from Grace

A respected character falling from grace due to a fatal flaw or mistake can make for a powerful sad scene.

The character’s shame and loss can evoke empathy in the readers.

Revered and respected, Judge Anderson had always been the pillar of justice in the town. But as the evidence of his corruption unfolded, he stood in the courtroom, the gavel heavy in his hand. His legacy, once a beacon of integrity, was now a monument of disgrace. He looked around the courtroom, meeting the eyes of betrayal and disappointment. The gavel fell, echoing the collapse of his honor.

• Narrative Voice . The narrative voice mirrors Judge Anderson’s shame, intensifying the emotional impact of the scene.
• Vivid Imagery . The description of the courtroom and the falling gavel creates a powerful symbol of Judge Anderson’s fall from grace.
• Tragic Flaw . Judge Anderson’s corruption adds depth to his character, making his fall more poignant.

Example 9: The Betrayal of Trust

A character being betrayed by someone they trust can result in an intensely sad scene.

The shock and hurt experienced by the character can deeply resonate with the readers.

Lily had trusted Mark implicitly, believing in their shared dreams and promises. But as she read the messages on his phone, each word was a dagger, severing the threads of trust. “I never loved you,” he had written, and with those words, the world she had built with him crumbled. She looked at the man she had loved, now a stranger cloaked in deceit.

• Emotional Dialogue . The messages Lily reads, particularly the phrase “I never loved you,” evoke a strong sense of betrayal, increasing the emotional depth of the scene.
• Vivid Imagery . The description of the threads of trust being severed and the world crumbling paints a poignant image of Lily’s heartbreak.
• Relatable Emotion . The feeling of betrayal and heartbreak is universally relatable, deepening the readers’ emotional connection to Lily.

Example 10: Acceptance of a Harsh Reality

A character accepting a harsh reality or a tragic truth can serve as a powerful sad scene.

The character’s resignation and acceptance can trigger deep emotions in readers.

Tom had fought valiantly against the disease, his spirit undeterred. But as he looked at his frail reflection in the mirror, he acknowledged the truth he had been evading. He was not the invincible warrior he had once believed himself to be. His body was giving up, and it was time for him to accept it. He closed his eyes, surrendering to the inevitable.

• Internal Monologue . Tom’s reflections on his condition give readers insight into his emotional state, making his acceptance of the harsh reality more palpable.
• Vivid Imagery . The description of Tom’s frail reflection creates a potent image of his physical state, amplifying the emotional impact of the scene.
• Relatable Emotion . The feeling of resignation and acceptance of a harsh reality is universally relatable, deepening the readers’ emotional connection to Tom.

By understanding and effectively applying these techniques, you can craft deeply moving scenes that resonate with your readers, eliciting powerful emotional responses and enhancing their overall reading experience.

Final Thoughts: How To Write a Sad Scene

Writing one sad scene is admirable but a story is more than one scene.

Sometimes, you want to know how to write sad stories where the sadness runs all the way through the narrative.

Check out these other articles about storytelling:

• How to Write a Screenplay with ChatGPT (Ultimate Guide 2023)
• How to Write a Novel With ChatGPT (Ultimate Guide in 2023)
• Novel AI Review 2023 (Ultimate Review + Examples)

Describe Crying in Writing—Without the Clichés

When your characters start to cry in your story, you want readers to be able to sympathize with them. When your characters are pouring their heart out, overcome by grief, or overjoyed at reconnecting with someone who they thought had died, the last thing you want is for your readers to be bored—or worse, rolling their eyes.

And yet, most writers fall short when trying to convey such strong emotions. If you want to write truly powerful emotional scenes, you need to be able to write them in ways no one has ever heard before. Language like “tears welled up in his eyes” or “his voice cracked” just isn’t going to cut it. You need to use language that allows readers to feel exactly what the character is going through, and you can’t do that by relying on plain language or clichés. 

How to Avoid Writing Clichés when Describing Crying

The first method for making your crying scenes more dramatic is to cut out the clichés, but first, you need to be sure you understand what a cliché is. A cliché is a phrase, idea, or story element that has been overused to the point of being annoying. Some examples are:

• When a character screams “noooo!” up at the sky.
• When a character cries in the rain.
• The phrase “crying a river of tears.”
• When a character’s heart “hammers” or “pounds.”
• The phrase “a blood-curdling scream.” 

I’m sure you get the idea. However, traditional clichés aren’t the only things you’ll need to be on the lookout for in your own writing. 

There are certain gestures and physical descriptions that aren’t exactly cliché but are overused to the point that they have a similar effect on readers. For example, take the gesture “she wiped at her eyes.” Wiping tears away is a common reaction to crying. It’s something people actually do, and often . So why is it a problem? 

When a writer uses gestures like a character wiping at their eyes or chewing on their lip, they are attempting to “show” how the character is feeling without explicitly telling readers “she is crying.” In theory, that’s a good thing, but by relying on the same phrases that every writer utilizes, their character will feel like a cookie-cutter copy of every other character who’s ever cried. How many times have you read any of the following?

• She wiped at her eyes.
• He sniffled between words. 
• She sighed heavily, letting her head drop.
• Tears welled up in their eyes.
• A single tear rolled down his cheek. 
• He felt his throat closing up.
• Tears streamed down her face.
• He looked close to tears. 

In general, if you’ve read it before (especially more than once), it’s probably a good idea to find a more creative way to write what you’re trying to convey. Use metaphors and similes to create more visceral feelings, and don’t be afraid to describe things strangely. You can always work backward to make weird imagery more relatable. 

For example, instead of saying that a character’s throat is constricting because they’re about to cry, say that it’s like they’re struggling to swallow down a still-beating heart. 

That imagery is slimy, visceral, and uncomfortable, but it likens itself quite well to the sensation of anxiously forcing down tears. Emotions can be uncomfortable, so don’t be afraid of using uncomfortable imagery to describe them. 

Writing Different Types of Crying

People don’t just cry when they are sad. The situations in which characters can shed tears are wildly diverse, ranging from receiving a thoughtful gift to watching a horrible tragedy unfold before them. Characters can cry because they are joyful, frustrated, angry, disappointed, confused, relieved, and a number of other emotions. The tone of your description should match how the character is feeling.

Not only are there different emotions behind a character’s tears, but there are also different levels of intensity to each emotion. The words you use should be reflective of that too. The words “weeping” and “sobbing” are not perfect synonyms for the word “crying.” If a character is sobbing, they are going to be gasping for air, overcome with emotion—they may even curl up or heave.

If your character starts sobbing after a minor inconvenience, readers aren’t going to feel bad for them. Rather, they’ll just be annoyed by the character’s overdramatic reaction. Take that same reaction, however, and apply it to a scene in which another character dies, and suddenly, it becomes powerful.

However, human emotions are complex and varied, so your characters could have many other reasons for breaking down besides just “sadness.” In addition to that, emotions are rarely expressed as separate experiences. Rather, emotions overlap and twist together, making them much harder to portray in the written word. 

If you want some quick tips and pointers for portraying complex emotions, I cover the topic more in-depth in another article: How to Describe Facial Expressions in Writing . For now, let’s dive into how different emotions can alter a character’s behavior as they cry. 

Sadness is a broad emotion, so the context for why your character is crying is important for understanding how they are crying. The way someone cries when watching a sad movie is going to be very different from how they cry after receiving sad news.

In general, when a character cries out of pure sadness, with no other emotions influencing their behavior, they are likely to cry quietly. Sadness is a numbing emotion, so characters who cry out of sadness would be rather subdued. Common responses include curling up in a ball, chewing on their lower lip, and prolonged periods of simply not moving. Tears may be wiped away, or allowed to freely flow down the character’s face.

If you want to give your readers insight into how the character is feeling as they are crying, focus on the numbing aspect of sadness. Your character may feel physically and mentally deadened, tired, and even nauseous. They may also feel isolated from others as if they are alone in their suffering and no one understands, even if that isn’t necessarily true. Depending on the character, they may seek comfort from others, or withdraw to compose themself alone. 

Happy Crying

When a character is crying out of happiness, their response is going to depend on the context as well. Crying after receiving a big surprise, such as an expensive gift or an acceptance letter to a great college, is going to look different from a character crying on their wedding day. 

When a character is crying happy tears, they are likely to gasp frequently, cover their mouth with their hands, and speak in a high-pitched tone. They are also likely to emote exaggeratedly with their body, such as bowing over, bouncing up and down, fanning their face with their hands, or clapping. In more subdued settings, such as a wedding, the character may restrain their emotions and simply cry openly with a sincere smile on their face. 

Feelings of happiness are difficult to describe, but that doesn’t mean you should shy away from giving readers insight into the character’s mind. When a character cries out of happiness, they are likely going to be overwhelmed with joy, excitement, or even disbelief. Characters are also much more likely to cry happy tears if they think they don’t deserve whatever is making them happy. 

Angry Crying

Anger doesn’t always lend itself to tears, but when it does, it has specific and predictable effects on a character’s behavior. A character may cry angry tears when they are being treated unfairly, are arguing with someone, or have been hurt emotionally.

When a character gets angry, that triggers an adrenaline reaction (their “fight-or-flight” response to stress or danger). Adrenaline drives how they behave while they cry, and it may cause them to tremble, raise their voice, become red in the face, sputter, and breathe much faster than normal. Depending on the character, they may wrap their arms around themself defensively, curl their hands into fists, or lash out with aggressive gestures. 

If you want to describe how that feels from the character’s perspective, a good theme to focus on is temperature. Anger is often described as “searing” or “boiling,” and it can feel as if they are burning up inside. When anger drives a character to tears, it is usually because their emotions have reached a breaking point and must be released. 

For more tips on writing about anger, take a look at Writing a Character with Anger Issues .

Embarrassed Crying

Embarrassment by itself is often enough to motivate a character to cry. Whether they have been humiliated in front of their friends, made an embarrassing mistake, or said something stupid without thinking, embarrassment can result in a strong emotional response. If handled well, you may also allow your readers to feel your character’s pain, through the phenomenon of second-hand embarrassment . 

A character crying out of embarrassment is, above all else, going to hide away from others. They may cover their face with their hands, curl up as small as possible, and try to withdraw from other people. Though it depends on the character’s personality, most of the time, they will seek to be alone out of fear of being judged for whatever caused the embarrassment.

To give your readers insight into how the character is feeling, you should allow your character to overthink how others would respond to witnessing the embarrassing event. They may feel shame and fear, and they are likely going to feel quite self-conscious about themself and their abilities. They may even feel ashamed of their reaction to the embarrassment, and try to hide the fact that they are crying. 

Scared Crying

Not everyone cries when they are frightened, but it is not an unusual response. Some characters may cry after being spooked for a prank, while others may only break down when they genuinely fear for their life.

When a character cries out of fear, they will experience a rush of adrenaline (just like with angry crying!) They will experience tears along with the typical reactions to adrenaline, like increased heart rate, a flushed face, and faster breathing. They are also likely to freeze in place, stammer, tremble, and whine. 

Fear is a powerful emotion, and it can dominate a character’s thoughts and actions. When a character is afraid, they might not even be aware of their tears until after the danger has passed. Rather, the character is going to be focused on what they are doing to eliminate or escape from whatever they are afraid of.

Pained Crying

Pain is another common reason for characters to shed tears, and it is often unavoidable even for ordinarily stoic characters. For some, crying might be their response to any amount of pain or discomfort, while others may need to be pushed to the point of agony before they shed tears. Either way, pained crying can look different depending on the type of pain and the character affected by it. 

When a character is crying because of acute pain, such as a sudden wound, they are likely to cry out or groan loudly, curl up in a ball, or exhibit reactions similar to scared crying. However, when a character has been experiencing chronic pain for some time, they may simply break down from the exhaustion of having to put up with that all the time.

It can be tough to get into the head of a character in pain. Pain can overshadow other thoughts and feelings, or intensify negative emotions like anger, fear, or sadness. If your character is afraid for some reason, either of whatever hurt them, for the safety of their friends, or for their own survival, now would be a good time for them to hyper-fixate on that fear—and their own inability to do anything about it. 

Disappointed Crying

Disappointment is an emotion that includes elements of sadness, anger, and even embarrassment. When a character was looking forward to something, such as a gift, a trip, an event, or something else, and is let down, they express disappointment that the situation doesn’t go as they envisioned it. They may be angry at whatever messed up their plans, angry or ashamed at themself for being so let down, or simply sad that they didn’t get what they want.

A character crying because they are disappointed is likely to be pouty and subdued, but they are also likely to exhibit many of the same behaviors as angry, sad, or embarrassed crying. They might hide away, start yelling, or seek comfort from others. It all depends on the character, the situation, and what went wrong.

After being disappointed, a character is probably going to be thinking about what happened long after the situation is over with. Disappointment is a slow-burn emotion, and your character is probably going to feel pretty bummed out for a while even after they stop crying. 

Frustrated Crying

Frustration is an overwhelming emotion, and crying because of it can often worsen that initial frustration. Often, frustration is the result of a character getting fed up with their own inability to achieve something, whether that’s beating a hard stage in a game, convincing someone of something in a debate, or being able to overcome their personal struggles.

Characters become frustrated when something they worked hard for isn’t working out. When this pushes a character to tears, they might start behaving angrily, or their behavior could mirror that of sad crying. Often, a character who is frustrated will lash out violently, hit or throw things, and then sit down to cry. This pattern is almost always followed: the character lashes out to release their initial frustration, then gives up and begins to cry more passively. It is also common for a person to harm themself when they lash out, such as by pulling their hair or hitting something too hard. 

Frustration can feel like an eruption of emotion. It builds up over time and is then released all at once. This can lead characters to start crying suddenly, with very little warning before it happens. 

Panicked Crying

Panic can bring a character to tears in the blink of an eye. When a character loses something they treasure, finds themself in an unsafe place, or encounters a person who has harmed them in the past, they may begin to panic. Past trauma is a common reason many characters have for breaking down into panicked tears, but characters with anxiety and panic disorders can experience panic attacks with no clear triggers. 

When a character is panic crying, they are going to be hyperventilating, and they may have a frenzied look, pace around wildly, rock back and forth, or clutch onto someone or something for comfort (or protection). They are also likely to scream, shriek, or whimper. In a lot of ways, this type of crying manifests very similarly to scared crying, but with much more restless energy.

Panic is an emotion that can overshadow all other emotions and rational thought. A panicking character will feel numb and lightheaded, and they may have a difficult time staying upright without someone or something to lean on. They may have a difficult time stringing words into a coherent sentence, and they’ll likely have a much harder time thinking of solutions to problems, formulating complex thoughts, and rationalizing their behavior. 

Panic isn’t just experienced; it takes over a character’s thoughts and behavior completely. 

Hopeless Crying

Hopelessness is a straight path to tears. When a character believes that nothing matters, they cannot save the world (or their loved ones), or that they simply cannot go on the way they have been living, they may begin to cry hopelessly. 

Hopeless crying goes beyond sadness. When a character is feeling truly hopeless, they may become lifeless, apathetic, or even downright catatonic. They will not bother to wipe away tears, so make a point to draw attention to the tears dripping off the end of their nose or splattering on different surfaces. Many surfaces, such as clothing, wood, and concrete, change color when they are wet, so if your character is crying onto a surface like that, you could also comment on the dark spots that appear with each tear that slips off the character’s face. 

A character who is feeling hopeless may feel as if they are alone in their struggles, and they can’t do everything themself. They may feel as if they have been abandoned, let down, or held back, and that they are powerless. This sense of powerlessness can cause a character to simply give up and shut down, leading to hopeless crying. 

Writing Dialogue when a Character is Crying

When writing dialogue for a character who is crying, it is important to remember to not go overboard. Once you have established that the character is crying, you shouldn’t have to do much extra work with the dialogue to further convince your readers of that. With that said, if you just type dialogue completely normally, that may come across as jarring if the tone doesn’t match how the character is feeling. 

The best way to indicate that a character is crying as they are speaking is to break the dialogue up to slow it down. One way you can do that is with the use of ellipses, like this:

“I don’t know… Maybe it’s just… better this way.” 

However, this is really easy to overdo. Make sure you read your dialogue out loud to ensure that the pauses sound natural for the character who is speaking.

Another option is to break up the dialogue with narration that reflects the other things the character is doing as they are speaking. These interruptions are called “ action beats ,” and they are a helpful little tool for controlling the pace at which your readers move through dialogue. Here’s an example of a beat in dialogue, using the same example as above:

“I don’t know,” Nate sighed, pausing to wipe his nose on his sleeve. “Maybe it’s just better this way.”

You might be tempted to misspell words as the character is speaking to emphasize the fact that they are slurring words together as they cry, but do not do that. Either state that the character is slurring their words, or that the other characters had difficulty understanding them. Misspelling words to look slurred is awkward, and it almost never feels authentic. Not to mention, that can make it difficult for readers whose first language isn’t the one you’re writing in. 

How to Describe a Character Trying Not to Cry

Sometimes, a character who feels compelled to cry may want to hold it in, either because they are afraid of what others would think, too proud to be seen crying, or because it isn’t socially acceptable in a particular setting. If you can show your readers how your character is fighting back tears, instead of simply telling them that, the scene will be much more emotionally charged. 

When a character is trying not to cry, they may employ several techniques to try to keep the tears from coming. Here are some options you can use to indicate that a character is trying not to cry:

• They could avoid eye contact with others, or look upward or downward. Alternatively, they could close their eyes.
• They could focus on keeping their breathing steady and slow, so much so that they miss what others say to them. 
• Their face may become red.
• They may avoid speaking, out of fear that their voice could crack.
• They may bite their lip, fidget with something, or seek other sensory distractions such as chewing on something, picking at their nails, or humming. 
• They may try to hide their sadness by expressing a different emotion, such as anger or happiness. 
• They may try to think of something else to distract themself. 

Remember to keep the character’s personality, and their reason for being upset, in mind as you are writing this scene. No two characters are going to react to the same situation in the same way. In addition to that, the same character who would ordinarily stay quiet in one situation may lash out violently in a different one. 

How to Describe Fake Crying

On the opposite end of the spectrum, you may have characters who aren’t upset, but want (or need) to shed tears anyway. People have many reasons for wanting to fake tears, including connecting with others, expressing remorse, getting attention, or getting themself out of trouble. However, the most common reason people have for fake crying is manipulation. It’s much easier to get someone to do something for you if you shed a few tears first. 

Here are some quick examples of things you can include to show that a character is fake crying:

• They may squeeze their eyes shut tightly, trying to force out tears.
• They’ll likely scrunch up their face, and exaggerate their expression to look sad (such as pulling down the corners of their mouth, pulling their eyebrows closer together, and potentially pouting their lips).
• Their nose will not be running, and they won’t have any difficulty with breathing. If they want to be convincing, they will have to consciously sniffle and force their breathing into a more irregular pattern. However, their sniffles won’t sound the same without their nose running, so keep that in mind. 
• They are likely to hide their face with their hands since it will take them much longer to produce tears—if they can manage to do that at all.
• They are much more likely to wail, cry, mumble, or make any other distressed noise than someone who is actually crying. 
• They will be working harder at keeping their performance consistent, while someone who is actually crying may express a variety of other emotions as they try to get a grip on themself. It’s not uncommon for someone who is genuinely upset to express nervousness, fear, anger, and even a smile. 
• They will exaggerate everything they do to try to be more convincing. 
• They will be able to stop “crying” suddenly, whereas someone who is actually upset is going to need some time to pull themself together. 

If your story is told from the perspective of the character who is faking tears, or from an omniscient perspective, then you have an additional advantage. You could give readers insight into what the character is thinking, which you could utilize in a couple of different ways. You could be explicit, and simply show readers that the character is thinking of how to be more convincing, or you could simply show that their thoughts are clear and unrelated to what they should be upset about. Even if you don’t state it, your readers should be able to figure out that the character is faking if you give them enough clues. 

Write Crying Realistically

The most important thing to keep in mind when you are writing about characters crying is that strong emotions are not pretty. No one looks good when they are crying—they just don’t .

Here are some examples of things that happen when a character cries:

• Their face will be red and scrunched up.
• Their nose will be running.
• They’ll be sweaty.
• Their eyes will be bloodshot and puffy.
• They’ll produce more saliva.
• Their glasses may fog up.
• Tears (and snot) will get on everything.
• Their voice will crack, change pitch, and rasp.
• They may stutter or become incoherent.
• They may drool. 

When you’re describing a character crying, don’t be afraid of making your readers a bit uncomfortable. Crying is gross , so that’s how you should describe it if you want to do so realistically. If you want more tips about portraying emotion (or anything else) realistically, you should check out Show, Don’t Tell: What it is and How to Write it .

Finally, I’ll end with one last piece of advice. Your character’s reactions to different situations and events can reveal a lot about them. If they overreact in a particular situation, such as encountering a rude stranger, getting lost, or misplacing their phone, you can use that to reveal more about the character’s past. Their reaction to a rude stranger could reveal that they were hurt by someone in the past, while breaking down at the notion of being lost could suggest that they struggle with anxiety. Utilize those reactions to help you tell their story. 

Best of luck with your stories, writers!

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Sad Writing Prompts: Over 50 Ideas That Are Complete Tearjerkers

• July 14, 2022

Strong emotions make for great story-telling. 

Sadness is one of those emotions that pulls on the heartstrings and makes a story engaging and memorable. 

The saddest stories make us cry and even summon a tear when we remember them long after we first heard them.

Even though sadness is a complex emotion, it’s part of life. 

Each of us will face feelings of sadness at some point in our lives. 

When it comes to story-telling, exploring sadness offers some benefits.

It allows readers to connect with the characters on a deeply personal level and can be incredibly cathartic. Catharsis is the purging of emotions through storytelling.

We’ve got you covered if you’re a writer and want an idea for a sad short story. 

This article has over 50 sad writing prompts to help you get started. 

The prompts below include general sad story ideas, sad opening lines, and suggestions for sad dialogue. 

We’ve also included sad lines and quotes from world-famous novels to inspire you further.

50+ sad writing prompts

Check out the 50+ sad story prompts below to inspire you!

Ideas for sad short stories

The main character is diagnosed with a terminal illness. Write a story about their attempts to reconnect with distant family members during the short time they have left.

A couple who lost their child to an illness years ago adopted an orphan. Write a story from the parents’ perspective as they learn to love this adopted child.

Write a story about a teenager trying to get through high school while also battling her depression. Explore her background, trials, tribulations, and the main character’s rocky relationship with herself.

Write a story from the perspective of a dead person who watches over their loved ones from the afterlife.

One of the last remaining members of an animal species is caged in a zoo. Write a story about their memories of life before the zoo, how they got caught, and their thoughts and sentiments today.

A couple about to reunite after ten years has their plans thwarted by a global pandemic. Write a series of letters between the two lovers yearning for each other during this unprecedented pandemic. For extra drama, add a conflict to the correspondence. Does a letter go missing? Is there some vital information revealed in one of the letters, something that might change the relationship?

An older, overweight woman just wants some love and affection. Her size and the amount of time since she was held by someone make her believe she is unlovable. One day, an old friend from school shows up to ask how she is. They spend time together, have lots of fun, and make lasting memories. Our main character develops feelings for her old friend, but he won’t be around forever.

A young boy is destined to become a superhero and save the world. To fulfill his destiny, he must leave his friends and family behind without telling them and enter a strict training regime in a secret location. Write a story from the perspective of his friends and family members who believe their loved one has gone missing.

A young high school couple decides to try a long-distance relationship when high school ends, and both go to different states for college. Write a letter from one partner to another explaining why they think they should break up—include memories and sentiments from the relationship and important last things they say to each other.

Write a story about a young girl whose cat was run over on the road outside her house. Explore how her parents teach her about death and grief.

An old man slowly dying in a hospital bed recounts the story of his life to his young grandson.

A father’s alcoholism tears a family apart. Write a story from the perspective of a daughter who needs her father, but his addiction makes him indisposed to help.

In high school, all the girls receive Valentine’s day cards from the boys in class. All but one. Write a story about the girl who doesn’t get a card.

Two young lovers are forbidden from seeing each other. Yearning for each other’s company, they sneak out of their respective homes. Knowing that their love is forbidden, they never return home.

A woman whose husband is killed in war dreams about him every night and wakes up alone every morning. Tired of the pain of waking up alone, she tries to go to sleep forever.

An old man and his dog are best friends and have only had each other for years. When the old man dies, the dog is left alone. The man’s relatives take the dog into their home. Every day, the dog runs away and sits on his former owner’s grave until his new owner comes to bring him home.

Sad short story opening line prompts

When I was a child I always wanted a dog, and I had one. The three months I spent with my dog was some of the most fun I’ve ever had.

Maria couldn’t cry. She was sad and angry but tired, and crying required far more energy than she could summon.

One morning, Brian woke up alone. He was surprised until he remembered that his dream life was a dream.

The best way to break a person’s heart is to pretend that you care about them.

I loved her, and she loved me. Now I’m a stranger, and she’s a memory.

One day I woke up, and she was gone. No text, no note, nothing. Just the smell of her hair on the pillow and my loneliness were all that was left.

You never know how much you love someone until they’re gone. That was one of the hardest lessons I ever had to learn.

Have you ever loved someone so much that it broke your heart?

When I was younger, I thought love was about butterflies, smiles, holding hands, and being happy forever after. Now that I’m older, I realize how much pain it causes. Still, that doesn’t mean we should stop loving.

The day the doctor told me I was sick was the first day of the rest of my life.

Looking back on my life before I died, I realize that there were so many things I could have done differently. All the worry, the procrastination, the pointless arguments, what a waste of time!

I’m done with love. Over. Never again.

Sad short story dialogue prompts

‘No, I won’t let you go!’

‘I love you.’

‘I’m sorry, but I have to leave.’

‘I was waiting for you.’

‘I’m sorry.’

‘I wish you told me how you felt before today.’

‘I understand if you never want to see me again.’

‘Can we just talk?’

‘I don’t love you anymore.’

‘I heard this song, which made me think of us.’

‘Loving you is the best and worst thing ever to me.’

‘Is there someone else?’

‘I have some bad news.’

‘How could you do this to me?’

‘I need to tell you something.’

‘I have to go, and I don’t know when I’ll be back.’

‘I really thought things would be different this time.’

‘I can’t help myself.’

‘I hope you never miss someone as much as I miss you.’

‘Words can’t describe the pain I feel right now.’

‘I’m worried about you; call me?’

‘All I want is one more moment with you; is that wrong?’

‘I know you don’t want to talk to me anymore, but I just want to thank you for making me a better person.’

‘I thought you would notice, but you didn’t.’

‘How can I possibly trust you anymore?’

‘I’m not mad at you, but I’m very disappointed.’

‘One time, I would have screamed and argued with you, but now I just don’t have the energy.’

‘I heard you’re happy now.’

‘All of this hurt, all of this pain, and still I love you.’

‘I never realized loving you would hurt this much. Still, I don’t regret a thing.’

‘I dreamed we were still together, you and me.’

Sad lines and quotes from literature

“Beautiful things grow to a certain height, and then they fall and fade off, breathing out memories as they decay.” F. Scott Fitzgerald, The Beautiful and Damned

“Time was passing like a hand waving from a train I wanted to be on. I hope you never have to think about anything as much as I think about you.” Jonathan Safran Foer, Extremely Loud and Incredibly Close

“If you have a sister and she dies, do you stop saying you have one? Or are you always a sister, even when the other half of the equation is gone?” Jodi Picoult, My Sister’s Keeper

“There are a lot of children in Afghanistan, but little childhood.” Khaled Hosseini, The Kite Runner

“I know so many last words. But I will never know hers.” John Green, Looking for Alaska

“I have scars on my hands from touching certain people.” J. D. Salinger,  Raise High the Roof Beam

“I hid my deepest feelings so well I forgot where I placed them.” Amy Tan, Saving Fish from Drowning

“You see I usually find myself among strangers because I drift here and there trying to forget the sad things that happened to me.” F. Scott Fitzgerald, The Great Gatsby

“The heart dies a slow death, shedding each hope like leaves until one day there are none. No hopes. Nothing remains.” Arthur Golden, Memoirs of a Geisha

‘I think everyone feels alone in their sadness, and there’s a certain value to hearing other people’s sad stories.’   Brandon Stanton, American Novelist

Sad stories evoke difficult emotions. 

All of us have some sadness in our lives somewhere. Such is the nature of human life. 

Many of us would rather avoid sadness altogether and only allow ourselves to feel positive emotions. 

However, integrating and accepting sadness is essential for living a life of emotional stability.

Sad stories, though emotionally heavy, can help us process our own sadness. 

American Novelist Brandon Stanton believes that hearing others’ stories is valuable. We experience catharsis, the purging of emotions through experiencing them vicariously through fictional characters . 

Sad stories also help us feel sympathy, empathy, and compassion for others.

For writers, sad stories pose a challenge. 

It’s essential to approach sad scenes and themes with authenticity and honesty. 

At the same time, one shouldn’t indulge in sadness. It should exist as a theme as a by-product of the natural unfolding of events in a story.

So, if you’re a writer and you want to write a heart-heavy, tear-jerker story, use any of the prompts and ideas outlined above. 

Feel free to chop and change elements of each prompt to suit you. 

Take inspiration from one or several of the prompts above and craft your unique story that will bring a tear of sadness to your reader’s eye.

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37 Ways To Write About Grief

In this post, we have included 37 things for you to consider when you write about grief .

One of our most popular series of posts on Writers Write is ‘ways to write about different emotions’. We’ve written about these so far:

• 37 Ways To Write About Anger
• 32 Ways To Write About Fear
• 43 Ways To Write About Love
• 29 Ways To Write About Happiness
• 40 Ways To Write About Empathy

In today’s post, we look at ways to write about grief.

This is not necessarily a post about grief as a story, but about how the emotion of grief affects the characters and the plotting of a book.

How do we  write about grief  in an authentic way?

A) What Is Grief?

Grief is an intense sorrow, a feeling of deep and poignant distress, which is usually caused by someone’s death (including a pet’s). Grief can also be felt with the ending of a relationship, or the death of a dream or an idea around which a life has been built. It can be felt with the diagnosis of a terminal illness. It is an intense emotion and the pain can seem unbearable.

Words associated with grief include:

Use these words when you’re describing a grieving person.

People often describe grief as a process . There are generally five stages associated with grief:

These are based on On Death and Dying , the 1969 book by psychiatrist Elisabeth Kubler-Ross. Some people may experience them in this order, but they can occur in any sequence and you can revisit the stages at any time. Some people skip a stage and others can experience more than one at the same time. The length of grieving depends on the person. It may take weeks or months or years.

People have also added ‘shock’ and ‘guilt’ to these stages.

B) Body Language

In your body language,  signs of loss are important. You can:

• Curl into a foetal position.
• Cover your face with hands or a pillow or blanket.
• Stare unseeingly.
• Sob uncontrollably.
• Find it hard to swallow.
• Wrap your arms around yourself.
• Scratch your hands and arms.
• Push people away.

C) Ways To Create Conflict With Grief

• The loss of a loved one can spur your main character into action. Love interests in fiction are the most common way to create internal  and  external  conflict. A love interest does not have to be a romantic love interest. ‘It can be a friend, a pet, or a family member.’ ( source ) The loss of this loved one could create a need for revenge or simply for healing.
• The emotion of grief could cause the character to lose their job, or resign from it.
• The emotion of grief could change other important relationships that were dependant on the person who has died.

D)  The Importance Of Grief In Plotting

Grief is a powerful and debilitating emotion. Only use it if it serves your plot.

• If you want to write a book about grief, this will obviously be your main plot. You will show the pain and despair of your main character and how they find their way back to life again. A good way to do this is with the use of a motif that is derived from a hobby or an occupation. The grieving person could be building a boat, or breeding a rare species of birds – anything that gives them a tangible story goal. They must do something – or the book would be boring.
• If you want to use it as a sub-plot, the death of the love interest is the one to choose. The love interest  is the most useful and the most common of all  sub-plots .
• Use their loss to show us more about them.
• Use the loss and their grief to move the story forward. This works in a detective story where the main character vows revenge for their loss – or simply becomes more determined to make things that are wrong, right.

E) Exercises For  Writing About Grief

• Write about the moment your protagonist is told about someone they love dying. Use body language, dialogue, and the senses if you can.
• Write about the moment your antagonist is told about someone they love dying. Use body language, dialogue, and the senses if you can.
• Show how a grieving person is unable to stick to their daily routine. Let them wake up to the loss and then show how they go about trying to get ready for the day.
• Show a moment where a grieving person is pulled out of the well of despair by something that happens that gives them a story goal .
• Write 12 diary entries on the first day of each month after the character has lost their loved one. Show how they change over the year.

Top Tip : Use our  Character Creation Kit to create great characters for your stories.

If you liked this blogger’s writing, you may enjoy:

• 10 Perfect Writing Prompts For Thanksgiving
• The Romantic Hero
• Fictional Pillars For Writers
• The 4 Pillars Of A Memoir
• Banned Books Week – The 10 Most Challenged Titles Of 2020
• What Is Procrastination & How Do Writers Beat It?
• The 5 Pillars Of Police Procedurals
• Mystery, Horror, Thriller – What’s The Difference?
• 101 Words To Describe Weather
• How To Tell If You’re Writing About The Wrong Character

Top Tip : Find out more about our  workbooks  and  online courses  in our  shop .

• Body Language , Creating Characters , Description , Featured Post , Show Don't Tell , Writing Tips from Amanda Patterson

1 thought on “37 Ways To Write About Grief”

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Keep It Fresh: 10 Ways To Show Your Character’s Emotions

June 22, 2017 by ANGELA ACKERMAN

Years ago, Becca and I grumbled about how our characters always expressed emotion the same way. My big thing? Frowning. Did my characters EVER know how to frown. They were savage at it. Becca’s characters? Smilers, all of them. SO HAPPY.

Unfortunately, our inability to express emotion in a fresh way was dragging down the quality of our writing. So, in 2012 we published The Emotion Thesaurus , hoping it would help writers get out of this boring rut when it came to expression.

That was a pretty ambitious project, but was it enough? Apparently not, because in 2019, we decided to expand The Emotion Thesaurus into a second edition , adding 55 new entries and way more instructional front matter.

Along the way, we added The Emotion Thesaurus to our massive show-don’t-tell database at One Stop for Writers, and expanded it again!

All these expansions, but is it any wonder? Conveying character emotion is so important…but not always easy to do.

Today let’s look at 10 different ways to SHOW what a character is feeling. 

Body Language 

It’s no surprise– a huge part of showing emotion is describing how the body reacts during an emotional experience . No emotion is the same – grief looks different from gratitude, excitement displays differently than dread. 

One thing we can work to improve is to not focus on describing facial expressions as much (things like eyes narrowing, lips pinching, etc.) because there are only so many things to describe when it comes to the face. The body, though…always lots of great ways to show emotion there. 

Think about gratitude – how a hand splayed across the chest, shoulders bowing momentarily before stiffening, shaky fingers reaching up to rub the lip these will all make sense for a character winning an award for something when he had a lot of help and support. When you want to come up with unique body language, put yourself in the character’s shoes and imagine the scene. Let yourself feel what they do, then set out to describe it.

Thoughts  

Thoughts are an excellent way to show emotion, as long as they adhere to the rules of POV. When swept up by emotion, our thoughts follow certain patterns. Worry has us jumping to conclusions and imagining the worst case scenario. Skepticism has us poking holes in every statement or deed as we look for proof that our intuition is right and something’s rotten in the litter box. Scorn goes further, revealing those ugly, judgey-judge thoughts we have about someone else. Flavor your character’s thoughts with emotions, and not only will a character’s voice shine, readers will also be drawn right in!

Visceral Responses  

Internal sensations, a.k.a., visceral responses, are those immediate and uncontrollable reactions we have to emotion. That tight heat of arousal at just the right touch (desire), the spike in heart rate when a streetlight suddenly goes out (fear), a rock that manifests in the gut after noticing an ambulance in the driveway (dread)…these sensations are immediate and powerful. 

Use them when you’re in the character’s POV as readers recognize these sensations and have felt them all before, bur remember less is more because while powerful, too much will send things into melodrama land.

Posture is a great way to show a character’s emotions. Are they a wall of tenseness, or more fluid, relaxed, and loose? Is their chest thrust out (confident), caved (struggling or upset), shielded by crossed arms (closed off, impatient, irritated) or do they stand with arms out (welcoming & caring)? If your character leaning in, or away? Do their feet point toward someone (engaged) or away (escape)? The body is a road map that we can use to show readers exactly what they are feeling.

Personal Space

Introvert, extrovert, or in between, all characters have a bubble of personal space that allows them to feel safe. This area may widen or narrow, depending on how the character feels. Does he let people into his space or keep them at a distance? Does he enter the space of others? We can see indicators of how he feels by his willingness to engage and be vulnerable (or not).

Dialogue is a great way to show emotion as long as it mimics the real world. People rarely state their feelings directly—they beat around the bush. They don’t say “I’m angry,” instead they rant or vent about the thing pissing them off. What a character says (and what they avoid talking about!) show their inner emotional landscape to readers and other characters.

Along with what a character says is how they say it . Are they speaking fast (nerves, rushing, impatience) or slow (careful, thoughtful, tentative)? Does their voice rise in pitch, showing they can’t quite keep a lid on what they are feeling, or go lower, revealing they are in control, or trying to rein themselves in? Do they hesitate, emphasize certain words, fumble around and go on tangents to show their discomfort about a topic, or interrupt themselves to change the direction because they are revealing too much?

Decision-Making & Actions

Okay, my psychology geekiness is showing, but one of the BEST PARTS of emotion is that it constantly messes up a character. Emotions (and their amplifiers) are great at destabilizing decision-making skills. When people act out of fear , or anxiety , defensiveness , or even out of love or desire , they do things differently than they would if they were feeling centered and rational.

Every action has a consequence, and emotion-driven actions can create conflict fallout, which is great for storytelling…and shows what emotions are pushing a character’s buttons.

Every character has empty spaces they carefully maneuver around if we look hard enough. These are danger zones where they might come face to face with an emotion they are uncomfortable experiencing, usually because it is tied to an emotional wound that leaves them jaded and questioning their on self-worth.

Voids can be used to indicate these painful emotions simply by showing things that are out of character, like them ignoring something right in front of them because it makes them feel uncomfortable, or how they steer conversations away from something that nudges painful feelings.  This void can be resistance, like showing them do something the hard way because he’s avoiding the logical choice as it’s chained in negative emotions. Imagine wanting to ask a older brother for help because he’s the expert, but refusing to because he slept with the character’s ex the day after the two separated. Because voids hint at deep emotions and complicated situations they should be treated like the proverbial “smoking gun.” In other words, if you show friction between brothers to the extent that one will go to great lengths to not seek out the other’s help, that emotional sore spot eventually must come to light so the void makes sense.

Contradictions

We’ve all said to a relative, “Of course you can stay with us this weekend!” when they ask. But sometimes, inside, we are a hodge-podge of emotion: we’re swamped at work, the house is a mess, and we have no time to host big dinners and provide the entertainment which goes with family visits. Yet we smile and nod as we speak….except our shoulders sag a little, or we swallow and hesitate before forcefully flooding our voice with enthusiasm. Basically, with contradictions, a character may try to fake it but body language doesn’t lie.

And these are just the tip of the iceberg!

There are more ways to show emotion–so many more. Anyway, the big takeaway?

Use a variety of techniques, drawing from different description wells.

If you only show emotion through body language, or dialogue, or rely too heavily on the internal thoughts of your POV character, your writing will seem one-dimensional and readers won’t have as memorable of an experience.

Stretch yourself! In each scene, think how some of these might work. Experiment. You might just see your writing jump from good…to great!

Need more help with body language and emotion?

Checklists & Tip Sheets

The Emotion Database at One Stop for Writers

Articles on character emotion

The Emotion Thesaurus Writing Guide

Don’t forget to observe the people around you. When they are feeling a specific emotion, how do they behave? What do they say and do? Bring the real world into your story for realistic emotional portrayals.

Happy writing!

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

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Reader Interactions

December 19, 2019 at 10:33 am

This is a good tip particularly to those fresh to the blogosphere. Simple but very precise information… Appreciate your sharing this one. A must read post!

November 23, 2019 at 11:56 pm

You should be a part of a contest for one of the best websites on the web. I will recommend this site!

July 13, 2018 at 1:28 am

But before you spend a dime, stop by and see if One Stop for Writers has the Features and Tools you are looking for. This deal expires at the end of July, so grab your code if interested. 🙂

Can you please tell me about the deal/code? Can’t find anything in the post. Thanks.

July 13, 2018 at 9:03 am

HI Jay, This post was written awhile ago and there was a special promotion on at the time. It looks like i removed the code, but not this one line–sorry about that.

However, there’s a 25% off coupon (for any plan) at the bottom of this post here, reviewing One Stop for Writers: https://prowritingaid.com/art/456/Writing-App-Reviews%E2%80%A6-One-Stop-For-Writers.aspx Or, in a few days I’ll be posting something new regarding a free trial on our Facebook page if you want to watch for that: https://www.facebook.com/onestopforwriters/?ref=bookmarks

February 24, 2018 at 5:24 pm

Great post. How do you describe the body language in the picture below the word posture? Not even Google is helping. I’d appreciate it if you describe the man’s body language.

February 25, 2018 at 9:30 am

There are several pictures—which one do you mean? The key is knowing which emotion the character is feeling. To describe well the author needs to know this so they can ensure that comes across.

February 25, 2018 at 11:04 am

I mean the man wearing the white jacket and a black shirt.

July 10, 2017 at 4:08 pm

This is a wonderful resource! Thanks for sharing. 🙂

July 10, 2017 at 5:53 pm

Happy it will help you! 🙂

June 22, 2017 at 6:15 pm

I bought the Emotion Thesaurus several years ago. I use it often and it shows. The binder is worn in places.

June 22, 2017 at 10:00 pm

That’s terrific–I love hearing our books are getting a workout. I hope you are getting all the help you need!

June 22, 2017 at 12:55 pm

Great post! Thanks for sharing!

[…] Keep It Fresh: 10 Ways to Show Your Character’s Emotions by Angela Ackerman […]

[…] ring true with readers. As with many other areas of writing, the best way to do this is through showing that emotion rather than telling it. But before we can write about the character’s feelings, we need to know how those feelings will […]

[…] need to know about your protagonist to get your readers to the end, and Angela Ackerman explores 10 ways to show your character’s emotions, while K. M. Weiland gives 4 reasons you should outline your […]

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12 Awesome Descriptions For Sadness

Sadness – an emotion that everyone and anyone can easily relate to. It is one of the most popular emotions to use in school compositions. However, many students simply use the word “sad” to describe their character/s. Teach your child these descriptions to use in their compositions and they will immediately add depth to their stories.

Let’s take a look at the 12 Awesome Descriptions For Sadness today:

1. She tried to speak, but she was  choked with tears .

2. His  tearstained face was puffy and swollen with grief .

3.  Crestfallen , he realised that his only chance to succeed was gone.

4. He had  a lump in his throat  and was  blinking away the tears.

5.  Sorrowfully , he buried his dead golden retriever at the bottom of the garden and  wept a silent tear .

6.  A hush fell  as the bereaved elderly man entered the church. During the service, he was  racked by sobs .

7. “Not again!” he  groaned in misery .

8. “Why would she do that to me?”  snivelled  Giselle  miserably .

9. For months, the  gnawing grief  kept him awake at night.

10. Jason announced the tragic news with  a heavy heart .

11. Sitting there alone,  misery was written all over his face .

12. He found himself  in the depths of misery .

Encourage your child to use these descriptions in the tests and examinations. Help them familiarise with these phrases through simple activities by writing short introductory paragraphs with one or two of the descriptions, or give them short dictation quizzes!

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How do you make a story as sad as possible?

When I think of sad story, I think of Greek tragedies, so naturally they should have a sad ending, and the characters should not deserve what happens to them. So I was thinking that I simply need to make sure that the injustice is so great that it makes the readers extremely mad and frustrated. Am I correct to assume this, but wouldn't doing so also hurt the story, since you have to make them extremely mad and frustrated? I am trying to write the saddest story ever written.

• creative-writing
• 8 Anger and frustration are not the same as sadness. And they might even distract people from taking the time to really feel sad. –  user54131 Commented Jan 2, 2023 at 7:32
• 2 You want to write a story that is as sad as possible TO YOU. As you've commented below, you've read/watched stories that were sad to others, but frustrating to you. Everyone experiences grief differently, a story where you attempt to make everyone sad will just feel manipulative. –  crthompson Commented Jan 3, 2023 at 17:26
• 2 "I am trying to write the saddest story ever written." Sell to your readers a book is just a mirror once they open the cover. Let them reflect on what is sad on their own lives. Let them alone with their demons for a moment. Then prepare to get sued over emotional damage. –  T. Sar Commented Jan 3, 2023 at 18:18
• 2 Write the ten first minutes of Up! –  coredump Commented Jan 3, 2023 at 19:32
• 4 For sale: baby shoes, never worn –  LarsTech Commented Jan 3, 2023 at 21:39

8 Answers 8

To no fault of their own..

In my opinion the saddest stories are where the characters do everything right and still lose.

A princess is sick, and a brave knight goes on a quest to save her... a lot of hardship but he finds the medicine... only to come home and see he is too late...

All his suffering down the road, the sacrifices he has made... for nothing.

American History X (SPOILER)

A neo-nazi gets sent to prison and turns his life around, but sees that his little brother is still stuck in the wrong crowd... he helps his little brother turn his life around as well, but then his little brother gets shot by a black student he discriminated against earlier in the story.

He was a bad person at the start, turned his life and that of his brother around, only to lose what mattered most to him in the world, ironically by the people he hated for no reason.

Pay it Forward (SPOILERS)

A little boy starts a movement, instead of paying back favors people should pay it forward...it catches on and a lot of people get helped and it builds a sense of community. Near the end the boy sees somebody being bullied and tries to help, doing the right thing, only to get stabbed to death.

Somebody who has done nothing wrong, only trying to help...having to pay it with his life.

The Mist (SPOILERS)

A large group of people become stuck in a grocery store while an apocalyptic mist filled with monsters covers everything they can see. A man and his son are stuck there while the group gets smaller and smaller because of monster attacks and it also becomes more dangerous from in because a cult is formed that suggests sacrificing children to god to keep them safe...he, his son and 3 others manage to escape in a truck but in the end they are still stuck in the mist with no fuel and hearing monsters everywhere... they have a gun with 4 bullets so he shoots his son and the others to make sure they won't suffer at the hands of the monsters and goes outside ready to be eaten alive... and boom the US army shows up in tanks and with flamethrowers killing all the monsters less then 5 minutes later and suddenly he sees the cultists all being safely evacuated.

He didn't fall for the despair/insanity like most other survivors...he tried to make sure his loved ones didn't suffer needlessly... and turns out if he was a bit more patient (maybe even selfish) he would have had an happy ending.

• 9 Good examples, but for The Mist, when I watched it many years ago I didn't feel sad at all, I felt mad at the director of the movie to make such tragedies via suicide. –  justhalf Commented Jan 3, 2023 at 9:37
• 4 @justhalf personally i find it both sad and hilarious. –  A.bakker Commented Jan 3, 2023 at 9:48
• 6 The Mist is an horrible piece of writing that makes the pain of a father the butt of a terrible joke. It's not sad, it is psychotic. Pay it forward is legit sad, tho. –  T. Sar Commented Jan 3, 2023 at 18:22
• 4 If you're going to block out spoilers, you might as well hide all of the spoilers for The Mist. Your last sentence has it out in the open. –  nasch Commented Jan 3, 2023 at 21:33
• 4 @GregMartin because "Prince saving princes' is a trope i used it as an easy to understand generic example :| –  A.bakker Commented Jan 4, 2023 at 21:30

The sharpest tragedy is intimately personal

The world blew up and everybody died. The end.

This is not a very sad story. There is an infamous quote, "One death is a tragedy. A million is a statistic."

A little girl got run over and died.

This is sad. People are often especially sympathetic with the misfortunes of women and children. But beyond that, the more attachment you can build, and the more personal you can make it feel, the more painful the story.

Janie, my best friend's younger sister, was hit by a car. My friend was driving. I've never seen somebody cry like he did before he drove off the bridge and into the canyon. This is the worst day of my life.

But even a terrible story can be made worse if you can force the reader to vividly imagine a character's anguish:

What am I going to tell my friend's mother?

• “Tragedy is when I cut my finger; comedy is when you walk into an open sewer and die.” by Mel Brooks. –  Peteris Commented Jan 5, 2023 at 2:03
• The first is literally the beginning of Douglas Adams' hilarious Hitchhiker's Guide to the Galaxy . In the fifth volume of the trilogy some interdimensional instability offered a chance to avoid it. That chance was, iirc, thwarted by an obnoxious teenager. That in turn was tragic in a, dare I say, very familiar way (been there, done that). –  Peter - Reinstate Monica Commented Jan 5, 2023 at 9:27

I think the most important part to achieve your goal is to focus on connection between the reader and the character(s) .

A feeling of sadness only arises if the reader is emotionally invested in the character(s) of the story. Hardship, tragic events etc only matter if the reader cares about the character(s).

People are the most sad if somebody they love is affected by bad things.

Focus on the characters and their development. The reader needs to feel like the characters are their friend, partner, family.

The other answers have great advise for shaping the story.

• This is it. Being sad implies a loss. You must have something (emotional) before you can be sad that it's gone. –  Peter - Reinstate Monica Commented Jan 5, 2023 at 9:48
• To add to this: Without emotional investment, a story can only really be sad on a surface level: the reader may acknowledge that what happens in the story is "sad", but they wouldn't feel sad. Find a meaningful story to tell, and then you can begin to think how to evoke emotion in your writing, to complement that story (rather than trying to do that the other way around). –  NotThatGuy Commented Jan 5, 2023 at 10:25
• 2 Um, I guess you missed the "the more attachment you can build, and the more personal you can make it feel, the more painful the story" bit of my answer? I mean, it bears emphasizing, but I certainly didn't miss that part. –  Jedediah Commented Jan 5, 2023 at 14:54
• 1 @Jedediah That is fair enough. I did miss that part in your answer. –  elevendollar Commented Jan 6, 2023 at 7:21
• 1 Edited my answer to be more about my point and less about the other answers. –  elevendollar Commented Jan 6, 2023 at 7:27

The saddest things are when you combine as many of the following as possible.

• Something bad happens to an innocent
• It is not the fault of the suffering person
• It isn't anybody's else's fault either
• Somebody feels like it is their fault when it is not
• The suffering goes on for a long time, especially when the suffering person knows they are in "big trouble"
• The situation could be fixed quite easily "if only" but "if only" does not happen
• If multiple people have the bad thing happening at the same time, and one of them is "noble" in order to help the others

There are archetype situations. One quite heavily used one is the lost child in its many variations (kitten, astronaut, etc.) The idea is, an innocent is lost, knows he is in trouble, is slowly starving etc. The parent (dog owner, mission control, etc.) thinks it is their fault the child is lost, but really it was because of a storm, car accident, etc. The child could be found if only people searched in the right place. But everybody thinks the child is lost over here when the kid is really over there .

Things that relieve the sadness or change it to something else are many.

• Injustice tends to make it anger rather than sadness. A kidnapping engenders rage rather than pathos. If the Evil Stepmother really did dump Snow White in the woods, it is more about anger than sadness. If the car crash did result from drunk driving, people tend to move towards anger at the drunk.
• If the suffering ends quickly then the degree of sadness is less. Somebody falling off a building produces a quick burst of sadness that decreases quickly.
• If the suffering person is not aware they are in trouble it tends to make it suspenseful rather than sad. Horror films do this a lot. The first victim of the slasher does not see it coming.
• If multiple people are in trouble at the same time and one of them tries to hog the resources to save himself. 4 parachutes for 5 people, I want mine, and it becomes a fight rather than pathos. But if a father is there strapping his parachute to his pregnant wife, you are going to have salt.
• If all hope is lost then emotion tends to get disconnected. It tends to become "past tense" and much of the emotion is drained out.
• Similarly, if there is too much hope, then the sadness gets drained. We are not sad for Lois Lane dangling from the ledge because Superman is her boyfriend and he will save her.

I see you accepted an answer anyway, but here is some advice.

Read really tragic stories.

I remember reading a story from a Norse saga involving a shipwreck. The protagonist's wife gives birth to baby boy and dies. It seems like the baby is doomed, but the father keeps him alive somehow, even once snatching him from the jaws of a polar bear. And in the end_____

And if you want to read sad stories for inspiration, try reading J.R. R. Tolkien's Silmarillion or the stories from it.

The Children of Hurin 2007

Beren and Luthien 2017.

The Fall of Gondolin 2018.

And maybe you can ask on history sites for example of really tragic and sad stories from history.

• Some of Andersen's fairy tales qualify. The most intense is a story from the perspective of the dying narrator. No plot armor in The Fir Tree . –  Peter - Reinstate Monica Commented Jan 5, 2023 at 10:03

Just tell the truth. Nothing is sadder or more legitimately evocative of sorrow than the genuine sufferings and privations of real people, even if anonymized. Many of the most ingenious and heart-wrenching works of fiction were truthful echoes of this world's history, figurative representations of real persons and events, and parables. Examples might include Charles Dickens' Tale of Two Cities, Alexandre Dumas's Count of Monte Cristo, and The Lord of the Rings trilogy by J. R. R. Tolkien, to name a few.

A key is that you must establish a shared value system with your readers. Historical fiction or allegories that draw on people's lived experiences have the added bonus of being the most highly relatable. For this reason, many works of fiction and fantasy in particular fall far short of delivering the full level of engagement for readers of all ages, because their worlds, characters and circumstances are too contrived; such works tend to appeal to the young and naive, but not to persons of broader experience or more deeply founded emotion. (Although we like to pretend that vicarious emotion is the most powerful sort, such emotions are often too vague, since in the real world they remain undefined or without adequate context). If you put feeling into it, others can feel that feeling. The likenesses to real world events or persons do not always need to be too obvious or uncanny, but in order to be engaging, there must be a familiar principle or circumstance that goes beyond superficial similarity.

PS: not a native English speaker here and not a professional writer.

I read a light novel once, it hit me more than I expected it to.

A girl was selected to become a 'chosen' one in a world of supers during an incident...but because of her dark element, her power was withheld due to the higher authority consist of people with influence...and at the same time, she was instructed to save the day with the cost of her own life...

What makes it sad is:

• Being a 'chosen' should be a happy moment since it will become a new chapter of life (chosen are treated as celebrities and heroes), but this girl was sentenced to death on the same day she was chosen.
• The incident could be avoided, but it happened due to a greedy corporation.
• She can do much more, but her power was put on hold by the political leaders of nations due to the dark nature of her ability.
• She just wanted to save her single friend, but had to save everyone by doing so, including her bullies. If she does nothing, everyone dies; if she acts, everyone else lives except her.
• She managed to contact outside, but they cannot help much due to those political leaders who want to stop the news from spreading which will impact those leaders' competence and influence.

In her monologue "all of this can be avoided, but it was the people who made it happen" and she was stuck on both ends which we can all relate to...and the world is currently fighting monsters to survive.

Then the POV changes to the people who want to save her...and the same people broke the rules and told her story and her current situation to the rest of the supers who are currently fighting monsters in other areas...with their power, they light the sky so that the girl saw their solidarity...the girl saw it, but she didn't even realize it was meant for her.

To make it simple: Create a tragedy scenario, caused by people (which can be avoided) and involve a girl or a teen. It was not up to them to help, but they did it anyway. For the masses, they are happy being saved, but for some people, they know how much was the terrible cost of that peace, especially as they achieved it with the cost of a little girl's life...and for those powerful chosen, they have the abilities to stop it but they are helpless to do so and can only watch that little girl's life slowly slipping away from their own hands...due to political interference, they were celebrated as the hero in the news instead of that little girl...that incident slapped every 'chosen' on their face and reminded them the real reason why they were chosen, and not just to become celebrities with super powers.

To build the story until the finale, the arc consists of 25 chapters and 600 pages.

Making it personal is what makes the difference between "uupsi, one more red shirt down" and being rendered speechless by sorrow.

Red shirts aren't tragic because we have no emotional connection to them and their death doesn't matter, neither to any characters on screen nor to the story. They might get a 5-second burial and then never be mentioned again.

A tragedy builds up characters for the whole story before tearing them down. This builds an emotional connection. We know this character as a person . He has become a friend to us. We were there when his first child was born... well, you get the idea.

So to maximize sadness, you have to maximize emotional meaning. Something bad must happen to a character we know and care about. It must impact his life in a way we understand and where we feel the weight of the impact. Something he struggled for, and we struggled with him, turns out to be not at all what he hoped for. Instead of being rewarded for his long struggle, he not only fails, but is punished by the very thing he accomplished.

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