how to describe a shark in creative writing

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A to Z Collection of Describing Words

Top 30 Adjectives for Shark (Negative & Positive Words)

Sharks are mysterious marine creatures, often misunderstood due to their portrayal in media. Dive into this post to discover the various adjectives that accurately describe these majestic animals.

Table of Contents

Description of Shark

Sharks are cartilaginous fish known for their sharp teeth, streamlined bodies, and often, their predatory nature.

Words to Describe Shark

Here are the 30 most common words to describe Shark:

Streamlined
Cartilaginous
Territorial
Diverse (referring to various species)
Misunderstood
Electrosensitive (sensing electric fields)
Camouflaged
Cold-blooded

Keen-sensed

Positive words to describe shark.

Apex (referring to apex predator)

Negative Words to Describe Shark

Adjectives for shark (meanings and example sentences).

Meaning: Efficiently shaped
Sentence: The shark has a streamlined body for speed.
Meaning: Hunting other animals
Sentence: The great white is a predatory shark .
Meaning: Grand and impressive
Sentence: Watching the shark swim was truly majestic.
Meaning: Moving quickly
Sentence: The shark moved swift through the water.
Meaning: Traveling long distances
Sentence: This species is a migratory shark .
Meaning: Top of the food chain
Sentence: The shark is an apex marine predator.
Meaning: At risk of extinction
Sentence: The hammerhead is an endangered shark .
Meaning: Having sharp senses
Sentence: The shark is keen-sensed and detects prey.
Meaning: Eager to learn or know
Sentence: Surprisingly, the shark was very curious.
Meaning: Having great strength
Sentence: The shark has a powerful tail fin.

Other Related Words to Describe Shark

Words to describe a whale shark.

Filter-feeder
Oceanic giant
Slow-moving
Plankton-eater
Breathtaking

Words to Describe a Hammerhead Shark

Wide-headed
Shovel-shaped
Eye-extending
Group-swimming
Distinctive

Words to Describe a Shark Fin

Words to describe shark teeth.

Regenerative
Calcium-rich

Words to Describe a Basking Shark

Filter-feeding
Open-mouthed
Slender-finned
Cetorhinidae (their family)
Surface-skimming

Words to Describe a Shark Attack

How to describe shark in writing.

To describe a shark in writing, start by painting a picture of its physical attributes, from its sleek, streamlined body to its razor-sharp teeth.

Delve into its behaviors, from its swift, powerful movements to its predatory nature. Also, touch upon the environment, such as the deep blue ocean or coral reefs, to set the scene.

Including sensory details, like the glint of light on its dorsal fin or the shadow it casts underwater, can provide depth.

Above all, approach with respect, remembering that many myths surround these magnificent creatures, and reality is often less fearsome than fiction.

Adjectives for Animals

Adjectives for Cat

Adjectives for Teeth

shark - quotes and descriptions to inspire creative writing

a fish tank
fishing nets
kelp forest
marine life
ocean conservation zones

Perhaps it is time to rename the shark, it has been so maligned in lore that its survival as a species (and thus our survival) may depend on it. How about "shorphin" or "sholphin"? Make it more similar to "dolphin." It is hard to rehabilitate a word that is hardwired into the amygdala of millions. They need better PR.

The shark is as essential to the oceans as the wolf is to the forest. It brings a balance that protects the smaller creatures and flora, keeping their predators lower in number. As such the shark is a protector of the environment, a large and beautiful part of creation.

Blue light meets the silvery skin of the shark, cruising below the gentle waves above. There is such grace to his movements. In this moment he is a vital part of this oceanic scene, belonging to this ever-moving photograph.

The hammer head shark is as the best of jokes, the ones that make you laugh and feel warm inside at the same time. That they exist with that oddly shaped head is a joy to my heart, a jumping feeling of excitement like a little child.

The shark, this beautiful machine of nature, had an enchanted way of moving in the brine. It was as if all that instinct had condensed into a non-verbal intelligence, something so palpable.

These streamline bodies grace the deep blue, smoothly swimming on beneath any white-tipped wave-crest. They are a chorus, these sharks, a sort of solemn hymn to living and the way the ecosystem of the ocean functions.

The shark is a creature of sublime evolution, one that gives life to the ecosystem by controlling other large predators. It has both purpose and a steady confidence, a way of being that expands moments instead of grasping the seconds.

Forty six percent, almost half, of all sea plastics is old fishing gear. This gear is designed to kill marine life. We need to talk about this. There is no safe way to fish and protect dolphins, whales and sharks either. The labels are lies. It's all nuts, but we gotta save them, both because it is the right thing to do and it is the only way to save ourselves. Bottom line, plastic bags are bad, fishing net waste is worse. Vegan, anyone? I haven't been, but I've been heading that way and I think it's time to make that leap.

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Shark Adjectives: Describing Words & Examples

Table of Contents

How to Describe sharks? – Different Scenarios

When it comes to describing sharks, there are a variety of words and phrases that can be used to paint a vivid picture. Whether you are teaching young children about these fascinating creatures or simply looking to expand your vocabulary, here are some ways to describe sharks in different scenarios:

Remember, these descriptions can be used to engage young learners or anyone who is captivated by the world of sharks. By using descriptive words, we can bring these incredible creatures to life in our imaginations.

Describing Words for sharks in English

Sharks are fascinating creatures that captivate our imagination with their unique appearance and powerful presence. Describing sharks using the right words can paint a vivid picture and engage young learners. Let’s explore some descriptive words that will help bring these magnificent creatures to life.

It’s important to choose the right words when describing sharks to engage young learners and foster their fascination with these incredible creatures. Whether it’s their smooth bodies, powerful presence, or mysterious nature, descriptive words play a crucial role in bringing sharks to life.

Word	Definition
Sleek	Smooth and streamlined
Majestic	Grand and impressive
Terrifying	Frightening and intimidating
Elegant	Graceful and refined
Mysterious	Enigmatic and secretive
Formidable	Powerful and strong
Serrated	Having a saw-like edge
Sleek	Smooth and glossy
Fierce	Ferocious and aggressive
Stealthy	Quiet and unobtrusive

Adjectives for sharks

Positive Adjectives for Sharks with 12 Example Sentences

Using these positive adjectives, we can help children develop a deeper understanding and appreciation for these incredible creatures. Now, let’s explore some negative adjectives that are often associated with sharks.

Negative Adjectives for Sharks with 5 Example Sentences

Synonyms and antonyms with example sentences.

Synonyms for sharks

Remember, these synonyms can be used to engage young learners and foster their fascination with sharks.

Antonyms for sharks

In this article, I have explored various adjectives that can be used to describe sharks. By choosing the right words, we can captivate young learners and nurture their fascination with these incredible creatures. From positive adjectives like sleek, majestic, and elegant to negative ones like aggressive and dangerous, we can paint a vivid picture of sharks’ appearance, behavior, and characteristics.

Furthermore, I have introduced synonyms and antonyms for sharks, accompanied by example sentences. This not only expands their vocabulary but also encourages a respect for these powerful and adaptable beings.

By using descriptive words effectively, we can bring sharks to life and highlight their unique features and abilities. Whether it’s in the classroom or during casual conversations, these adjectives help spark curiosity and foster a deeper appreciation for the wonders of the underwater world.

Describing blood: adjectives with examples, adjectives for age: describing words & examples, adjectives for fight: examples and describing words.

Josh Hodges Writing

Shark – A Short Creative Writing Piece

how to describe a shark in creative writing

(A short story by Josh Hodges)

The warm tropical water surrounds my body as I sink into the blue. Looking around me, I can’t see anything: just a deep, almost hypnotic cobalt colour as far as the eye can see. Then, a solitary butterfly fish swims majestically past me; its beautiful yellow colour shining brightly among the royal blue of the water.

My eyes follow it. As I turn to watch the fish, I finally see what I came here for. The Great Barrier reef. The rich, colourful ecosystem that I was assured I’d see is even more astounding than in the pictures; and even better, the ecosystem seems to be thriving.

Pearl stingrays dominate the ocean floor, while huge schools of yellowfin tuna and horse mackerel dart around erratically; trying to avoid the tiger sharks that lurk in the shadows- waiting for the perfect opportunity to snatch a meal. I’m not here to study the fish on this occasion, though. Instead, I am here to study and take samples of the Cnidaria.

As I swim closer and closer to the reef itself, I see a huge array of crustaceans and anemones, ranging from small crabs to abalones to sea cucumbers. This is a good sign; and as of right now, this reef is thriving. But with the recent change in weather patterns and behaviour of marine animals as of late, this might all be subject to change very soon.

I need to focus, and get this job done. I swim down to a piece of Staghorn coral, and take a small sample for our research. I need to take a few small pieces from a few different places on the reef. Admiring my dream-like surroundings, I proceed to look for another piece of coral that is suitable for testing.

Something whizzes past my face with blistering speed. What was that? My eyes dart around, looking for the source of this strange happening. Out of the corner of my eye I see a tuna; slowly sinking to the floor of the ocean. It softly lands down on the sand, barely disturbing the substrate. A crimson, inky liquid seeps from a gaping hole in the Tuna’s side- a hole which is occupied by a spear. All of a sudden, there is no marine life to be seen, all apart from the poor Tuna and the Tiger sharks; who can smell the blood and are beginning to eye up the dead fish.

A man swims past me, wearing nothing but a snorkel with a mask, some flippers and some swimming trunks. In his right hand, a spear gun. He loads it up again, preparing to fire a warning shot towards the sharks; trying to scare them off so that he can claim his prize. Before I can do anything though, the man fires his spear. This angers the sharks, who already have the scent of blood on their sensitive noses.

I desperately try to signal that he needs to get out of the water as soon as possible, but I don’t quite think he understands the message that I’m trying to convey. In a matter of milliseconds, an opportunistic shark sees its opportunity and seizes it.

There was nothing I could do. I couldn’t have stopped the shark. I couldn’t have saved him. It was the mans fault, for being so stupid and so uneducated.

So why do I feel so guilty? Why do I tell myself it’s my fault? Why does the scene replay in my head, night after night; haunting my dreams when all I’m trying to do is get some rest?

2 thoughts on “ Shark – A Short Creative Writing Piece ”

I don’t know why, but I want to find out (referring to the rhetorical questions above/end of paragraph). Great opening – paints a clear setting and undercurrent of jeopardy for character, plus alludes to inner conflict

Check word choice and repeating words e.g. see

mans fault – apostrophe – the fault belongs to the man man’s fault

Good work I’m very impressed with all your work so far: very organised, enthusiastic and professional approach to everything we do.

Lovely, can’t wait to see more creative writing/short stories from you

Like Liked by 1 person

Monday, September 25, 2017

Tips on writing an underwater scene.

“Hero slipped beneath the calm surface and descended downward to the coral reef. Orange and yellow tube sponges were scattered across the reef. The cracklings of snappers and grunts filled his ears. He passed over large mounds of brain coral that looked exactly like their name sakes. He swam over to the ledge and did a free fall. He left behind the reds and yellows of the reef and entered a realm of blues and violets. The only sound he heard was his exhaust bubbles rushing to the surface. His depth gauge read 190 feet. Almost to the point where air turns toxic, 212 feet. He knelt on a sandy bottom, trying to remember why he made this dive. Nitrogen narcosis fogged his mind. A lone bull shark circled him, the brute’s body as solid as a locomotive.”

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A Guide to Descriptive Writing

by Melissa Donovan | Jan 7, 2021 | Creative Writing | 9 comments

What is descriptive writing?

Writing description is a necessary skill for most writers. Whether we’re writing an essay, a story, or a poem, we usually reach a point where we need to describe something. In fiction, we describe settings and characters. In poetry, we describe scenes, experiences, and emotions. In creative nonfiction, we describe reality. Descriptive writing is especially important for speculative fiction writers and poets. If you’ve created a fantasy world, then you’ll need to deftly describe it to readers; Lewis Carroll not only described Wonderland (aff link); he also described the fantastical creatures that inhabited it.

But many writers are challenged by description writing, and many readers find it boring to read — when it’s not crafted skillfully.

However, I think it’s safe to say that technology has spoiled us. Thanks to photos and videos, we’ve become increasingly visual, which means it’s getting harder to use words to describe something, especially if it only exists in our imaginations.

What is Descriptive Writing?

One might say that descriptive writing is the art of painting a picture with words. But descriptive writing goes beyond visuals. Descriptive writing hits all the senses; we describe how things look, sound, smell, taste, and feel (their tactile quality).

The term descriptive writing can mean a few different things:

The act of writing description ( I’m doing some descriptive writing ).
A descriptive essay is short-form prose that is meant to describe something in detail; it can describe a person, place, event, object, or anything else.
Description as part of a larger work: This is the most common kind of descriptive writing. It is usually a sentence or paragraph (sometimes multiple paragraphs) that provide description, usually to help the reader visualize what’s happening, where it’s happening, or how it’s happening. It’s most commonly used to describe a setting or a character. An example would be a section of text within a novel that establishes the setting by describing a room or a passage that introduces a character with a physical description.
Writing that is descriptive (or vivid) — an author’s style: Some authors weave description throughout their prose and verse, interspersing it through the dialogue and action. It’s a style of writing that imparts description without using large blocks of text that are explicitly focused on description.
Description is integral in poetry writing. Poetry emphasizes imagery, and imagery is rendered in writing via description, so descriptive writing is a crucial skill for most poets.

Depending on what you write, you’ve probably experimented with one of more of these types of descriptive writing, maybe all of them.

Can you think of any other types of descriptive writing that aren’t listed here?

How Much Description is Too Much?

Classic literature was dense with description whereas modern literature usually keeps description to a minimum.

Compare the elaborate descriptions in J.R.R. Tolkien’s Lord of the Rings trilogy with the descriptions in J.K. Rowling’s Harry Potter series (aff links). Both series relied on description to help readers visualize an imagined, fantastical world, but Rowling did not use her precious writing space to describe standard settings whereas Tolkien frequently paused all action and spent pages describing a single landscape.

This isn’t unique to Tolkien and Rowling; if you compare most literature from the beginning of of the 20th century and earlier to today’s written works, you’ll see that we just don’t dedicate much time and space to description anymore.

I think this radical change in how we approach description is directly tied to the wide availability of film, television, and photography. Let’s say you were living in the 19th century, writing a story about a tropical island for an audience of northern, urban readers. You would be fairly certain that most of your readers had never seen such an island and had no idea what it looked like. To give your audience a full sense of your story’s setting, you’d need pages of detail describing the lush jungle, sandy beaches, and warm waters.

Nowadays, we all know what a tropical island looks like, thanks to the wide availability of media. Even if you’ve never been to such an island, surely you’ve seen one on TV. This might explain why few books on the craft of writing address descriptive writing. The focus is usually on other elements, like language, character, plot, theme, and structure.

For contemporary writers, the trick is to make the description as precise and detailed as possible while keeping it to a minimum. Most readers want characters and action with just enough description so that they can imagine the story as it’s unfolding.

If you’ve ever encountered a story that paused to provide head-to-toe descriptions along with detailed backstories of every character upon their introduction into the narrative, you know just how grating description can be when executed poorly.

However, it’s worth noting that a skilled writer can roll out descriptions that are riveting to read. Sometimes they’re riveting because they’re integrated seamlessly with the action and dialogue; other times, the description is deftly crafted and engaging on its own. In fact, an expert descriptive writer can keep readers glued through multiple pages of description.

Descriptive Writing Tips

I’ve encountered descriptive writing so smooth and seamless that I easily visualized what was happening without even noticing that I was reading description. Some authors craft descriptions that are so lovely, I do notice — but in a good way. Some of them are so compelling that I pause to read them again.

On the other hand, poorly crafted descriptions can really impede a reader’s experience. Description doesn’t work if it’s unclear, verbose, or bland. Most readers prefer action and dialogue to lengthy descriptions, so while a paragraph here and there can certainly help readers better visualize what’s happening, pages and pages of description can increase the risk that they’ll set your work aside and never pick it up again. There are exceptions to every rule, so the real trick is to know when lengthy descriptions are warranted and when they’re just boring.

Here are some general tips for descriptive writing:

Use distinct descriptions that stand out and are memorable. For example, don’t write that a character is five foot two with brown hair and blue eyes. Give the reader something to remember. Say the character is short with mousy hair and sky-blue eyes.
Make description active: Consider the following description of a room: There was a bookshelf in the corner. A desk sat under the window. The walls were beige, and the floor was tiled. That’s boring. Try something like this: A massive oak desk sat below a large picture window and beside a shelf overflowing with books. Hardcovers, paperbacks, and binders were piled on the dingy tiled floor in messy stacks. In the second example, words like overflowing and piled are active.
Weave description through the narrative: Sometimes a character enters a room and looks around, so the narrative needs to pause to describe what the character sees. Other times, description can be threaded through the narrative. For example, instead of pausing to describe a character, engage that character in dialogue with another character. Use the characters’ thoughts and the dialogue tags to reveal description: He stared at her flowing, auburn curls, which reminded him of his mother’s hair. “Where were you?” he asked, shifting his green eyes across the restaurant to where a customer was hassling one of the servers.

Simple descriptions are surprisingly easy to execute. All you have to do is look at something (or imagine it) and write what you see. But well-crafted descriptions require writers to pay diligence to word choice, to describe only those elements that are most important, and to use engaging language to paint a picture in the reader’s mind. Instead of spending several sentences describing a character’s height, weight, age, hair color, eye color, and clothing, a few, choice details will often render a more vivid image for the reader: Red hair framed her round, freckled face like a spray of flames. This only reveals three descriptive details: red hair, a round face, and freckles. Yet it paints more vivid picture than a statistical head-to-toe rundown: She was five foot three and no more than a hundred and ten pounds with red hair, blue eyes, and a round, freckled face.

10 descriptive writing practices.

How to Practice Writing Description

Here are some descriptive writing activities that will inspire you while providing opportunities to practice writing description. If you don’t have much experience with descriptive writing, you may find that your first few attempts are flat and boring. If you can’t keep readers engaged, they’ll wander off. Work at crafting descriptions that are compelling and mesmerizing.

Go to one of your favorite spots and write a description of the setting: it could be your bedroom, a favorite coffee shop, or a local park. Leave people, dialogue, and action out of it. Just focus on explaining what the space looks like.
Who is your favorite character from the movies? Describe the character from head to toe. Show the reader not only what the character looks like, but also how the character acts. Do this without including action or dialogue. Remember: description only!
Forty years ago we didn’t have cell phones or the internet. Now we have cell phones that can access the internet. Think of a device or gadget that we’ll have forty years from now and describe it.
Since modern fiction is light on description, many young and new writers often fail to include details, even when the reader needs them. Go through one of your writing projects and make sure elements that readers may not be familiar with are adequately described.
Sometimes in a narrative, a little description provides respite from all the action and dialogue. Make a list of things from a story you’re working on (gadgets, characters, settings, etc.), and for each one, write a short description of no more than a hundred words.
As mentioned, Tolkien often spent pages describing a single landscape. Choose one of your favorite pieces of classic literature, find a long passage of description, and rewrite it. Try to cut the descriptive word count in half.
When you read a book, use a highlighter to mark sentences and paragraphs that contain description. Don’t highlight every adjective and adverb. Look for longer passages that are dedicated to description.
Write a description for a child. Choose something reasonably difficult, like the solar system. How do you describe it in such a way that a child understands how he or she fits into it?
Most writers dream of someday writing a book. Describe your book cover.
Write a one-page description of yourself.

If you have any descriptive writing practices to add to this list, feel free to share them in the comments.

Descriptive Writing

Does descriptive writing come easily to you, or do you struggle with it? Do you put much thought into how you write description? What types of descriptive writing have you tackled — descriptive essays, blocks of description within larger texts, or descriptions woven throughout a narrative? Share your tips for descriptive writing by leaving a comment, and keep writing!

Further Reading: Abolish the Adverbs , Making the Right Word Choices for Better Writing , and Writing Description in Fiction .

Ready Set Write a Guide to Creative Writing

I find descriptions easier when first beginning a scene. Other ones I struggle with. Yes, intertwining them with dialogue does help a lot.

I have the opposite experience. I tend to dive right into action and dialogue when I first start a scene.

I came across this article at just the right time. I am just starting to write a short story. This will change the way I describe characters in my story.

Thank you for this. R.G. Ramsey

You’re welcome!

Great tips and how to practise and improve our descriptive writing skills. Thank you for sharing.

You’re welcome, Bella.

Hello Melissa

I have read many of your articles about different aspects of writing and have enjoyed all of them. What you said here, I agree with, with the exception of #7. That is one point that I dispute and don’t understand the reason why anyone would do this, though I’ve seen books that had things like that done to them.

To me, a book is something to be treasured, loved and taken care of. It deserves my respect because I’m sure the author poured their heart and soul into its creation. Marking it up that way is nothing short of defacing it. A book or story is a form of art, so should a person mark over a picture by Rembrandt or any other famous painter? You’re a very talented author, so why would you want someone to mark through the words you had spent considerable time and effort agonizing over, while searching for the best words to convey your thoughts?

If I want to remember some section or point the author is making, then I’ll take a pen and paper and record the page number and perhaps the first few words of that particular section. I’ve found that writing a note this way helps me remember it better. This is then placed inside the cover for future reference. If someone did what you’ve suggested to a book of mine, I’d be madder than a ‘wet hen’, and that person would certainly be told what I thought of them.

In any of the previous articles you’ve written, you’ve brought up some excellent points which I’ve tried to incorporate in my writing. Keep up the good work as I know your efforts have helped me, and I’m sure other authors as well.

Hi Stanley. Thanks so much for sharing your point of view. I appreciate and value it.

Marking up a book is a common practice, especially in academia. Putting notes in margins, underlining, highlighting, and tagging pages with bookmarks is standard. Personally, I mark up nonfiction paperbacks, but I never mark up fiction paperbacks or any hardcovers (not since college).

I completely respect your right to keep your books in pristine condition. And years ago, when I started college, I felt exactly the same way. I was horrified that people (instructors and professors!) would fill their books with ugly yellow highlighting and other markips. But I quickly realized that this was shortsighted.

Consider an old paperback that is worn and dog-eared. With one look, you know this book has been read many times and it’s probably loved. It’s like the Velveteen Rabbit of books. I see markups as the same — that someone was engaging with the book and trying to understand it on a deeper level, which is not disrespectful. It’s something to be celebrated.

Sometimes we place too much value on the book as a physical object rather than what’s inside. I appreciate a beautiful book as much as anyone but what really matters to me is the information or experience that it contains. I often read on a Kindle. Sometimes I listen to audio books. There is no physical book. The experience is not lessened.

I understand where you’re coming from. I used to feel the same way, but my mind was changed. I’m not trying to change yours, but I hope you’ll understand.

You’ve provided some great information and advice. One thing I might add–it is helpful to consider the POV character. For example, what will they notice in a restaurant? A police officer may notice the placement of the exits, the tattooed man carrying a side-arm, the security cameras on the ceiling, etc. The descriptive items he would notice would be very different from those of an elderly grandmother or a fifteen-year-old teenaged girl.

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Shark creative writing prompt.

Write a description of this moment from the perspective of the scuba diver. Describe his thoughts and emotions as he encounters this fearsome creature.

Warm-Up Discussion Questions

What do you think the scuba diver might be thinking and feeling?

How would you describe what the shark looks like?

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Using The 5 Senses In Writing: Examples To Inspire You

Using the 5 senses in writing can deeply immerse readers in scenes and stories by creating more vivid imagery in their minds. It’s a skill that can elevate books to a higher level. In simple terms, it is writing that employs the five sense to create mental images for the reader.

But so often we writers find ourselves lured into the trap of relying on sight and sound. Relying on a narrow range of sensory language isn’t always enough to bring a story to life. We can inject so much more into our stories simply by utilizing sensory details in our writing.

In this guide, we’ll take a look at our sensory organs, why we use vivid writing, look at a bunch of illustrative 5 senses examples, and ways we can use each sense to elevate our stories to the next level.

Many people experience things through smell, touch, and taste. It’s our job as authors to use the five senses in writing to enrich our tales and prose with vivid imagery, which is often used to help the reader feel immersed and engaged.

In fact, the oft-forgotten 5 senses are some of the most powerful forms of description, things that can enrich a story and give it life. Here’s how you can master it.

What Are The Five Sensory Organs?

Why do we use the 5 senses in writing, 5 senses examples in writing, examples of a descriptive paragraph using the five senses, a checklist for using the five senses, exercises to help you use the 5 senses in writing, adjectives for the five senses, tips on using the 5 senses to describe something, advice on describing people using the 5 senses, more 5 senses examples and guides, frequently asked questions (faq) on using the 5 senses in writing.

Before we dive into looking at the 5 senses in a writing context, let’s look at what the five sensory organs are:

Special receptors in the skin that enable us to touch and feel

Combined, our five senses enable us to learn, experience and create memories. Pepsi Max, for example, always reminds me of my history lessons in college—I’d drink a can during every lesson. Think of songs too. They have an incredible ability to transport us back to moments in our past. Let’s explore things in more detail.

Now, something you may be wondering about is whether or not there are more than the 5 classic senses. It is, in fact, believed that there is more than touch, taste, sound, sight, smell. These golden 5 were defined by Aristotle because he could relate them to sensory organs. They are sometimes known as the “five senses folk model”.

But it depends on the manner in which you define a sense.

Newer approaches look at the number of sensory organs we have. And many academics now counter the sixth sense as the vestibular system. This relates to the inner ear and the impact it has on our balance and vision.

But other academics have gone further than this. Some tweak the definition to include sensory receptors. Now the skin, for instance, has at least four sensory receptors, relating to pain, temperature, touch and body awareness (otherwise known as proprioception).

So when someone asks how many senses do we have, it’s all a matter of definition. You can check out this awesome video below by SciShow which explains things in more detail.

Perhaps the main one of the five senses, sight often receives information first and therefore forms our initial judgements.

When it comes to using sight in writing, our stories and characters are often guided by this prime form of description. We describe what our characters see.

However, it would be nigh impossible to describe every aspect of a scene, and even if you did achieve it, nigh impossible to read.

Some of the most acclaimed writers, Charles Dickens, in particular, approached it by picking the right details. The little things that tell us everything. Let’s look at an example of the sense of sight in writing from Great Expectations :

“There was a bookcase in the room; I saw, from the backs of the books, that they were about evidence, criminal law, criminal biography, trials, acts of parliament, and such things. The furniture was all very solid and good, like his watch-chain. It had an official look, however, and there was nothing merely ornamental to be seen. In a corner, was a little table of papers with a shaded lamp: so he seemed to bring the office home with him in that respect too, and to wheel it out of an evening and fall to work.”

This is Jagger’s office. Though he doesn’t feature, we’ve gleaned much about who he is from details like the types of books upon the shelves and the paper-filled table, suggesting he lives a busy, professional life.

Colour is another fantastic tool when it comes to sight. Dickens was known for using colours to portray emotions or themes, such as red for frustration or anger, black for death, white for purity or goodness. Using colour, particularly with themes and the premise , can add extra layers to a story.

We explore some more 5 senses examples below to give you some ideas when it comes to sight.

Writing Prompt

Stand in the middle of your bedroom. Look all around you. Make notes of every little detail you see. Colours, shapes. Crumbs or dust on the floor. The more attentive you can be the better.

Pick out things that could relate to characterisation. The books on a shelf perhaps—what kind of books are they? Are there empty glasses beside your bed, dishes too? All of this helps to build interesting imagery, as well as contribute to other elements of the story, in this instance, characterization .

Sound is incredibly important when it comes to using the 5 senses in our writing. Dialogue dominates many stories, but so often little attention is paid to how characters sound when they talk. It’s strange when you think about how unique people sound, and a person’s voice makes such a difference to how we form views of them.

Something I learned not so long ago is that ducks don’t quack. They tend to grunt or even cackle. It’s easy to assume how things sound, but sometimes what we assume is wrong.

It’s always worth taking the time to research. In doing so you may find new and original ways to describe the sound. Using metaphors and similes, particularly if the sound is unusual, is a great way to bring clarity to descriptions.

Another often overlooked thing is silence. Silence is an excellent tool to set the tone or build an atmosphere or tension . A noiseless forest. A still, foggy street. Eerie.

Either using yourself or ideally, your character, place yourself in a location in which things are happening around you—a park, for instance. Close your eyes and listen.

Make a note of every little sound you hear, from tweeting birds to jackhammers digging up roads. If you can, make a note of how different sounds make you feel. Do fireworks startle you, for instance? Then think about why they could startle you or your character.

Of all the five senses, touch is, in my view, one of the most powerful yet underrated ones. If you can convey touch in an effective way, you’ll reap the rewards.

The scope of this sense depends on the nature of the scene, but imagine, for example, walking barefoot through a forest. The softness of moss between your toes, the cool slime of mud, the pokes and scratches of sticks and stones. Such details can draw readers deeper into the story.

We’ll look at some sensory writing exercises below, but as a brief writing prompt now, close your eyes and pick something up. Describe how that object feels. What features does it have? The texture? Sturdiness? Width? Weight?

These little details can make all the difference when it comes to incorporating the 5 senses in your writing.

Taste is the more neglected one out of the five sensory organs when it comes to writing. Just like all of the senses, using taste can enrich your story immensely.

How many times have you said the phrase, “It tastes like …”. So many of our memories are tied to tastes. Like I said before, Pepsi Max always reminds me of history classes in college. Which tastes trigger memories for you?

If this happens to us, it happens to your characters too. It’s a great thing to include within your characterization process.

Like smell, taste can serve as a trigger for memories. For example, a husband who shared a love for apple turnovers baked by his deceased wife is reminded of her whenever he eats one.

Taste can also trigger emotions. There’ve been times when I’ve eaten food that tasted so good I bounced with glee in my chair.

A fun one. Head down to your kitchen and finding something to eat that has a bit of texture. Close your eyes, take a bite. Focus closely as you chew, as the food rolls around your mouth, over your tongue and down your throat. How does it taste? How does it make you feel?

We, at last, arrive at smell, though its place is no reflection on its importance when it comes to using the 5 senses in our writing.

The power of smells cannot be underestimated. We smell things all of the time and those scents help to shape our impressions. What can you whiff right now?

A smell helps us to form a judgement on things, such as whether something’s okay to eat. And crucially, smells can trigger vivid memories and emotions, vital tools to any writer.

Here’s one of my favorite 5 senses examples for using smell in writing from James Joyce’s Ulysses :

“ Mr Leopold Bloom ate with relish the inner organs of beasts and fowls. He liked thick giblet soup, nutty gizzards, a stuffed roast heart, liverslices fried with crustcrumbs, fried hencods’ roes. Most of all he liked grilled mutton kidneys which gave to his palate a fine tang of faintly scented urine.”

How do you describe the smell of rain in creative writing?

Similar to the task above which involves a trip out to a busy place, like a park, sit down and have a good sniff. Another good place to try is a coffee shop. Lots of smells of roasting coffee and baking cakes in there.

Importantly, think about where those smells lead you in your mind. Do they trigger memories? Do associated words pop into your mind? From your character’s perspective, this is what their experience would be like too.

So, as we’ve seen above, this style of descriptive writing employs the five sense to create mental images for the reader.

Using the 5 senses in writing is crucial for creating vivid, engaging narratives. When we incorporate sight, sound, touch, taste, and smell, we activate the reader’s sensory experiences which can help make the story more immersive and memorable.

Neuroscience supports this approach. Studies show that sensory details engage the brain’s sensory cortex, enhancing emotional and cognitive processing ( Fischer & Zwaan, 2008 ). This means readers are not just passively reading but actively experiencing the text, which boosts retention and emotional connection.

On top of this, sensory-rich descriptions can trigger mirror neurons, which help readers empathize with characters’ experiences ( Iacoboni, 2009 ). This empathy can deepen their engagement and investment in the story, making it more impactful.

Renowned authors like Ernest Hemingway and Gabriel García Márquez skillfully use sensory details to create vivid imagery and evoke strong emotions. Their works demonstrate how sensory descriptions can transform simple narratives into powerful, lasting experiences. Below, we look at some examples of the five senses in writing to help illustrate how powerful this approach can be.

So, incorporating the five senses in writing is not just a stylistic choice but a scientifically-backed method to enhance reader engagement, emotional response, and memory.

Let’s move on to look at some 5 senses examples. As we’ve seen above, vivid imagery is often used to help the reader feel immersed in the story. So in this section, I’ve provided some descriptive writing examples from some bestselling books that make great use of the 5 senses.

“The tearing of flesh, as though a butcher were yanking meat from a flank. The bubbling of liquids and the soft rasping of the cutting tools.” Tooth & Nail , Ian Rankin

“Stars spun across his vision and his head felt as if it were about to burst… With difficulty, Hanno undid the chinstrap and eased off his helmet. Cool air ruffled his sweat-soaked hair.” Hannibal: Fields of Blood Ben Kane

“A cold wind was blowing out of the north, and it made the trees rustle like living things. All day, Will had felt as though something were watching him, something cold and implacable that loved him not.” A Game of Thrones, George RR Martin

“It was dark and dim all day. From the sunless dawn until evening the heavy shadow had deepened, and all hearts in the City were oppressed. Far above a great cloud streamed slowly westward from the Black Land, devouring light, borne upon a wind of war; but below the air was still and breathless, as if all the Value of Anduin waited for the onset of a ruinous storm.” The Return Of The King , JRR Tolkien.

This last one for me is a great example of a descriptive paragraph using the five senses. From the off, you not only get a vivid image of the setting (dark, dim, sunless dawn), but you can feel what it’s like to be there on an emotional level (hearts in the City were oppressed). Our senses are further teased with the description of a “still and breathless” air.

If you’d like to find more sensory description examples, I recommend doing this simple exercise:

Pick up any book that you see, one ideally that you don’t mind marking with a pen or highlighter. Next, scan the pages, looking for descriptive scenes. Whenever you see a sentence that refers to any of the five senses, highlight it in some way.

The benefit of doing this is that you get examples from a variety of different writers, each with their own clever way of making their exposition more immersive.

Something you may notice is that many of them employ metaphors and similes to help you build a visual image in your mind. This is a very effective way of using the 5 senses in writing. You could say things like:

The water smashed into the ground like the tide hitting a rocky coast
A squeal filled the air like a pig fearing slaughter
It smelled like an overflowing latrine pit sat in the baking sun

If you’re looking for more 5 senses examples for your writing, one of the best things you can do is to read books that pay particular attention to this. One of the standout books that explore this is Blindness by José Saramago.

There’s no shortage of sensory language examples out there for you to study. From books to writing guides like this, there are plenty of helpful resources you can learn from.

I wanted to provide you with a few examples of a descriptive paragraph that uses the five senses. Examine how they elevate the scene by drawing you deeper. Each little detail paints a more vivid picture, such that you can almost feel yourself there, experiencing it yourself. This is a real skill when it comes to creative writing, but it’s definitely one you can learn and master.

Let’s look at our first 5 senses paragraph example:

The mud of the road sucked at her tattered leather boots, a quagmire after incessant rains. Autumn circled like a hawk. The wind grabbed at her woollen green cloak and homespun dress. The hand-me-downs from her cousins never fitted, always too wide at the waist and short of length. She pulled her cloak tight about her, bundling it around her hands to keep away the biting chill.

The ringing gave way to those crashes and bangs, each one coming with the beat of his heart. His eyes flickered open. Slate-grey clouds hung above. Dust hovered in the air, rocks and debris showered down upon him. He raised his throbbing head and looked around. Men and women, hands over their ears, cowered down behind the crenellations of the wall, fear etched upon their faces, consuming their eyes, paralyzing their bodies. A few defiant individuals continued to loose arrows. For many, it was the last they shot. The Karraban thunder smashed the parapets to bits, obliterated siege engines, battered the cliff behind them and knocked from it great chunks of rock that tumbled down to crush those below. The ringing in Jem’s ears eased enough for him to hear the screams. They became the backdrop to the rumbling of the Karraban thunder. Only one thought entered Jem’s mind: flee.

The bells rang loud and panicked across Yurrisa. Hidden in the shadows of the abandoned warehouse, Edvar and the others lay in wait. He peered through a crack in a boarded window at the cobbled street. Echoing along it came a shout. Another. Steps rushed toward him, and into view burst a group of soldiers, breaths billowing mist in the cold morning air.

Laughter rippled from the table behind Edvar. The three men were tanners, the least difficult of all working men to identify: stained clothes and hands and stinking of a peculiar cocktail of rotten flesh and mint. They rubbed themselves with the latter to mask the stench of the former. Nobody could bear their presence long enough to tell them it didn’t work.

As you can see, these examples use each of the five senses to great effect. If you’re curious where these came from, I pinched them from Pariah’s Lament .

Something I’ve done to improve my use of the 5 senses in my writing is to include them within the planning process. It’s good to save it until the end when you’ve plotted out your story or chapter, however.

What I do is read over the plan and try and place myself in the scenes. Working my way through each sense, I list everything that pops into my head.

It’ll be unlikely that you need to spend too much time on sight , but taking the time to consider things in detail can provoke new and unique ideas. What little details can be included? Remember the power of specificity.
Next, onto sounds . Like sights, it’s unlikely you’ll need to spend too much time on this but it’s always helpful to consider the likes of characters’ voices and any usual sounds that could be featured.
Smells . When it comes to smells a good starting point is to list everything that comes to mind, even mere whiffs, which can be the most telling of all. Smells can provoke memories and emotions too, like the smell of perfume could remind a character of their dead lover, and that leaves you open to describe emotions.
What can your character touch or feel? How does the hilt of the sword feel in your character’s fingers? How does the touch of a vivacious woman feel to your lonely character? What information can be gleaned from the manner of a handshake?
Lastly, what tastes , if any, can you include? Is your character eating? Can they taste blood after being punched in the cheek? Do they enter a room where the smell is so foetid they can taste it?

Here are a few useful exercises to get into the swing of using the senses. The more you practice, the more it’ll become ingrained in the way you write.

One place, one sense . As the title suggests, think of a place and describe everything you can using just one sense. Challenge yourself. Pick a sense you feel you struggle with. Or do one sense, then a different one.
Walk and write . Take a notepad and write five headings: sight, sound, touch, taste, smell. The next time you go out, even if it’s just to the shop on the corner, write down everything you experience. The touch of the rain or breeze, how the pavement feels underfoot, snippets of passing conversation you hear, the whistle of birds, how that warm and crispy sausage roll tastes. *Warning* You may look odd stopping all the time.
Close your eyes and pick something up. This one was mentioned above, but it’s a powerful tool. Jot down everything you can think of.
Pick your favourite food and eat! This one’s a bit more fun. Take chocolate for example. Savour each bite and write down everything, from taste to texture, the sounds of it breaking in your mouth, and importantly, how it makes you feel.
Pick something alien and try to use sensory descriptions. This is a great way to challenge your use of the 5 senses because you have to create everything from scratch and to a whole new level of detail. So if you’re a sci-fi writer, this could be a great way to learn how to describe a spaceship in writing.

Write A Short Story With The 5 Senses

One of the most effective ways that you can sharpen your sensory description writing is to write a short story with the 5 senses.

The way it works is simple. Plan out your story—characters, plotting, theme—and then when it comes to the writing, you’re only permitted to use the five senses.

It can help to think of a story in which you’d likely use the sensory organs more than usual. Let’s look at a few writing prompts:

Your protagonist awakens in a dark cave. It’s cold and damp. They must figure out what’s happened and find their way out.
Your protagonist is fleeing through a forest. What are they running from? What awaits them up ahead?
Your character is upon a ship and is knocked overboard. How do they survive in the turbulent waves?

These are just a few prompts that are specifically designed to help you use the five senses in your writing. Trust me, an exercise like this will have your skillset sharpened in no time.

5 Senses Writing Prompts

Here are some 5 senses writing prompts that may help you get started:

You’re at home, watching TV. You catch the scent of something. Something that makes you mute the TV, look around, stand up. What is it you smell?
For three days you’ve been travelling alone through the woods. You’re two days from your destination. Tired, weary. And you’re pretty sure something is following you. The sun has long since set. The embers are dying in your fire. And you begin to hear sounds close by…
You’ve just started a new job. The office is big, labyrinthine. On your way back from lunch on your first day, you get lost. You open a door with stairs leading down. You follow them. Get further lost. And the steps give way. You awake in darkness to the sound of something growling. You reach for your phone, turn on the torch…

There are a few examples of sensory language-based writing prompts for you. See where they take you.

You can never have enough adjectives to help you describe the five senses. Below, you can find a pretty simple list, but it serves as a great starting point. From there you can add some of your own 5 senses examples. You can also head here to discover more adjectives to to help you describe people and places.

adjectives for the five senses in writing

Sometimes we wish to enrich our descriptions of static objects. These items may not have much about them. Think of a black box, for example. On the face, it looks plain and boring. However, in exploring the box with our 5 senses, we can zoom in on the cracks and chips along the edges, at the roughness of the surface, at the smell of what’s inside the box.

Here are some tips to help you describe something using the 5 senses:

Show, Don’t Tell – Instead of stating that a character is nervous, describe their sensory experiences. For instance, “Her palms felt clammy, and the bitter taste of anxiety coated her tongue as the cold draft whispered through the room.” This allows readers to feel the character’s emotions.
Use Metaphors And Similies – Employ relatable similes and metaphors to create a strong visual image. Instead of saying “the garden was nice,” try “the garden burst with vibrant purples and reds, each flower a delicate brushstroke of nature’s artistry, filling the air with a sweet, earthy fragrance.”
Engage All Senses – Ensure that your description covers more than just sight. For example, in a market scene, describe the “crisp, tangy scent of fresh apples,” the “hustle and bustle” of vendors calling out, the “rough, textured skin” of a mango, the “sweet, juicy taste” of a ripe peach, and the “kaleidoscope of colors” from different stalls.
Be Specific – Specific details can make a description more authentic and engaging. Rather than saying “the room smelled bad,” describe the “stale scent of old socks and sour milk lingered in the air.”
Incorporate Sensory Memories – Tap into common sensory experiences that readers can relate to. For example, “The crackling fireplace brought memories of cozy winter nights, with the smoky scent of burning logs and the warmth of the flames on their faces.”

By applying these tips, you can create rich, multi-sensory descriptions that immerse readers in your narrative, making scenes and emotions more relatable, especially when it comes to describing static objects.

Sometimes just describing how someone looks isn’t enough. We have to hone in on their features, like their coarse, unkept beard, or the smell that follows them round. Here are some great pieces of advice for describing people using the five senes:

Auditory Cues – Describe the person’s voice and other sounds associated with them. For instance, “His deep, gravelly voice resonated like a distant thunderstorm, each word punctuated by a contagious, hearty laugh that filled the room.” This provides an auditory element that can make the character more memorable.
Tactile Descriptions – Use touch to convey aspects of the person. For example, “His handshake was firm and calloused, a testament to years of hard labor, while the fabric of his worn flannel shirt was soft from countless washes.” This adds a tactile dimension to your description.
Olfactory Imagery – Incorporate scents associated with the person. For instance, “She carried the faint aroma of lavender and vanilla, a soothing blend that lingered in the air long after she left the room.” This can evoke strong sensory associations and enhance the reader’s connection to the character.
Gustatory Elements – While taste is less commonly used, it can be effective in specific contexts, especially in romance scenes . For example, “The kiss tasted of peppermint and coffee, a surprising combination that left a lingering warmth.” This can add a unique and intimate layer to your description.

By integrating these sensory elements, you can create a well-rounded and vivid portrayal of a person, making them more real and relatable to your readers.

If you’d like to learn more about sensory language and using these details in your writing , I recommend checking out my in-depth guide here. You can find a bunch more examples to help you further.

Thank you so much for checking out this guide on using the 5 senses in writing. I genuinely hope it’s been of use to you. Below, I’ve included some more guides on writing as well as places you can find extra 5 senses examples that you may find useful.

I may not have a sensory details generator on my site, but you can check out this random fantasy name generator tool to help with character creation

Learn more from my fantasy writing podcast

And to help you make your notes about the 5 senses, check out my guide to notebooks for writers

Check out my free book description generator here

If you’d like to learn more about words that begin with the letter E that you can use to describe someone, check out this guide. You can find words to help you describe someone in a positive or negative way, complete with definitions.

Below, you can find answers to some commonly asked questions when it comes to sensory descriptions, as well as more 5 senses examples.

“The icy wind rattled the ancient shutters upon the windows, stirring a shudder and setting every hair on her body on edge.”

This sentence uses sensory language to describe not just how the setting looks (from the rattling ancient shutters we see it’s an old possibly abandoned house), and crucially, we get a sense of how it feels to be in that setting, which is the main objective. It feels eerie, we feel the cold. We’re spooked.

What Are The 5 Senses In Writing?

Sensory description in fiction writing requires a writer to utilise the 5 senses – sight, sound, touch, taste and smell.

Incorporating the senses into your writing is simple. First, focus on what your characters can see in the scene. Then, one by one, think about what they can hear, smell, feel and taste. Assort your various descriptions and pick out your most powerful few.

The five senses are often used to draw a reader deeper into the scene, to feel closer to the characters. Writers do this by adding extra details focusing on the likes of touch and smell. This vivid writing that appeals to the senses can help immerse readers in our tales.

The best way is to pick up your favourite book and highlight any sentences or paragraphs that utilise the 5 senses. You’ll then have a bank of sensory details examples to call upon whenever you need them.

A sensory description is one that includes sight, sound, touch, smell and taste. Exploring sensory language examples gives you a greater ability to immerse your readers in the story and experience what the characters feel.

If you have any questions or need more examples of the 5 senses in writing, please contact me.

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About author, related posts, the best and most interesting words to describe a book, the best words to describe teachers, the best and most unique words that start with 'e' to describe someone, 31 comments.

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When writing about the senses, authors should be careful to avoid FILTER words (saw, heard, felt, smelled, tasted) that detract from the scene. Don’t say, “I saw the sparkling water.” Instead, make it more vivid. Leave out “saw.” We know you saw it because you are describing it to us. Tell us instead more of WHAT you are seeing. “The sparkling water bubbled as a creature from below made its way to the surface.” Same goes with using “heard,” “felt,” “smelled,” and “tasted.” Omit those words and describe those senses so people can experience what the character is experience.

Terrific points! Thanks for taking the time to share!

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Thanks for sharing!

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Thanks for the link!

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This was very helpful in as a source.

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Poetry Examples

16+ Must-Read Shark Poems To Read

Shark awareness day is coming and what better way to celebrate these magnificent sea-life predators than through poetry! Here are over 16 cool and funny shark poems that we absolutely love! And if you love them too, why not write your own shark poem? From haiku poems to limericks carry on reading this post for some fun shark-inspired poetry.

We have collected over 16+ poems about sharks from all over the web. And even wrote our own all to raise awareness of sharks and the life they live underwater. Every year on the 14th of July, people globally celebrate Shark Awareness Day . The goal of this day is to show the world that sharks are glorious creatures, impressive hunters and extremely important in keeping our oceans healthy. Sharks, sadly, are one of the world’s most endangered animals . They are killed every day for their sharp teeth, to make shark-fin soup and even killed because many people are scared of them. Shark awareness day is all about protecting sharks by showing their positive-side and not the villainess, evil cartoon shark that most people imagine.

Looking for more poetry inspiration? Take part in our daily poetry challenge !

16+ Must-Read Shark Poems

Let’s show the world how important and awesome sharks are through the power of writing. And more specifically through the art of poetry! Here are 16+ shark poems that are great for kids that we collected. From rhyming shark poems to funny poems about great white sharks.

Shark Poems That Rhyme

Don’t go in the sea, when it’s dark

Stay on a boat 🚣, don’t disembark…

You may get eaten by a Great White Shark! 🦈

– Rhyming Poem by @pauliancross

Deep in a blue lagoon,

Is a shark that bites you in the swimming pool.

Big white fangs,

Travelling in gangs.

– Rhyming Poem by @leowrightstudio

The life of a shark,

Is no walk in the park.

Hunted, killed and sold.

This tale never gets old.

Killed for their teeth, skin and fins.

For shark-fin soup in tins.

Ocean life is shrinking.

Humans act without thinking.

– Rhyming Poem by Imagine Forest

Shark Acrostic Poems

S wimming deep down below

H igh tides and wild waves

A ttacking those who come too close

R acing sharks may kill the weak

K eep your distance.

Acrostic poem by Imagine Forest

S ometimes I wonder..

H ow did sharks become the bad guys?

A re they really the villains?

R ighteously they rule the oceans.

K illing is what keeps the ocean alive, right?

A dventurous

R ebellious

Sharks Teeth Poems

In deepest ocean

Ssharks stingrays

Swimming through some dreamer’s sleep

Kneading memories from a numinous tank

Full of giant teeth

Poem By @frede_kenter

Shark teeth souvenirs

Man versus shark

Shark teeth trophies

For the champion

Shark teeth weapons

For the killer

Who’s the real killer?

Poem by Imagine Forest

Killer shark on the attack 🦈

T…

My big whites are for smiling 😃

Not for killing!

Poem by @imagine_forest

Great White Shark Poems

A long way from home

A great white came to explore

Little did he know

Humans could be so cruel

No warm welcomes here

Just pure fear.

Be very afraid.

Those great whites can be mean.

But not as mean as humans!

Shark Poems Funny

Quint, by the shark, was bit in two,

Then gobbled up inside her.

But that great white soon met her fate,

Blown sky by Roy Scheider.

Funny Shark Poem By @landofspike

The big bad is out at sea.

Hear the scary music .

It comes near.

It smells fear.

This could be Severe.

Hello, I’m a shark

The end.

Funny Poem by Imagine Forest

There once was a wise, old shark

He was born with a strange birthmark

Whenever he went hunting

The other sharks started grunting

His forehand had a pig-shaped mark.

Limerick by Imagine Forest

More Shark Poetry

Love being littlest of my kind

Lots of us &

love to dine on squid & fish

Only fret if caught in a net

Poem by @ArielliCady

“Deadly predators

Under the sea and on land

But, what’s more deadly?…”

Poem by @saf_begum

Jaws of death lurking

Greater danger lies above water

From careless shark killings!

Haiku by @storysaturday

Share your Poem

Did you enjoy reading these shark poems? We would love to read your shark-inspired poetry – Just post them in the comments below or use our story creator to share your poetry with our online writing community for some feedback.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Master List of Ways to Describe Fear

People have been asking me for this list for such a long time! If you write horror, suspense, mystery, or any kind of fiction with a scary scenes, you need to know how to describe fear.

This list can get you started. It’s a lot of phrases describing fear, including physical reactions, physical sensations, facial expressions, and other words you can use in your novel or in other creative writing.

I’ve included some that can work for uneasiness or anxiety, but most of these are for real terror. You can alter them to fit your sentence or your story, and they’ll likely inspire you to come up with your own descriptions.

Bookmark or pin this page for your reference—it might save you a lot of time in the future. I’ll probably add to it now and again!

Master List of Ways to Describe Fear #master lists for writers free ebook #master lists for writers free pdf #master lists for writers free kindle #describing fear in a story #description of fear #great fear #how to describe fear #words describing fear

fear paralyzed him

his terror mounted with every step

she fought a rising panic

fear tormented her

her heart was uneasy

her heart leaped into her throat

his heart hammered in his chest

his heart pounded

terror stabbed his heart

his heart jumped

her heart lurched

a fear that almost unmanned him

his body shook with fear

she trembled inside

he suppressed a shiver

panic surged through him

her fear spiked

he was in a complete state of panic

she could feel nothing but blind terror

his legs were wobbly with fear

she sweated with fear

his hands were cold and clammy

she was weighed down by dread

dread twisted in her gut

his stomach clenched

fear fluttered in her stomach

her belly cramped

he felt like he might throw up

she was sick with fear

she was frightened down to the soles of her shoes

he was icy with panic

her body went cold with dread

raw panic was in her voice

her voice was thick with fear

his voice was edged with fear

terror thundered down on him

fear caught her in its jaws

fear clawed up her throat

terror sealed her throat

fear gripped her throat

his throat tightened

then she knew real terror was

he was frantic with fear

she was half mad with terror

the color drained from her face

his face was ashen

she blanched

dread gnawed at his insides

dread had been growing in him all day

fresh terror reared up within her

fear choked him

terror stole her words

he was mute with horror

her voice was numb with shock

his voice was shrill with terror

her defiant words masked her fear

her body felt numb

his blood froze in his veins

terror coursed through her veins

fear throbbed inside her

his panic fueled him

adrenaline pumped through his body

adrenaline crashed through her

fear pulsed through him

her scalp prickled

the hairs on the back of her neck stood up

his mouth went dry

his bones turned to jelly

her bones turned to water

she froze with horror

he didn’t dare to move

terror struck her

he was too frightened to lift her head

she was too frightened to scream

his mouth was open in a silent scream

he cringed with fear

she cowered

he shrank back in fear

she flinched

a bolt of panic hit her

terror streaked through him

her terror swelled

his panic increased

anxiety eclipsed his thoughts

panic flared in her eyes

his eyes were wild with terror

her eyes darted from left to right

she feared to close her eyes

he lay awake in a haze of fear

she walked on in a fog of fear

his eyes widened with alarm

she tried to hide her fear

he struggled to conceal his shock

fear crept up her spine

fear trickled down her spine

panic seized his brain

she felt a flash of terror

fear took hold of him

fear flooded through her being

she ordered a drink to drown the panic

he arranged and re-arranged the items on his desk

a nameless dread engulfed him

Master List of Ways to Describe Fear #describing fear in a story #description of fear #great fear #how to describe fear #words describing fear

I bet you came up with other ideas as you were reading!

For more writing lists, check out my book Master Lists for Writers , if you don’t have it yet! A lot of writers use it to make writing go faster, especially when it comes to descriptions.

And if you’re not following the blog already, sign up below—I share lots of writing resources. Thanks so much for reading, and happy writing!

50 Spooky Writing Prompts and Horror Story Ideas #horror writing ideas #horror writing prompts #scary story prompts #Halloween writing prompts #dark fantasy story ideas #suspense story plots

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AlexK New Member

Describe a snake.

Discussion in ' Character Development ' started by AlexK , Jul 19, 2014 .

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); If you lived in ancient times, how would you describe a snake?

ToeKneeBlack Banned

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); "The slender serpent slithered silently, its scaly skin shimmering in the sunlight as its tongue occasionally flicked out to taste the fear in the air." Though you might want to avoid the alliteration, it's up to you.

maskedhero Active Member

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); A monstrous beast that hugs the ground, soulless, dark, and menacing.

peachalulu Member Reviewer Contributor

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); Stick-that-moves Serpent Ophidian

jazzabel Agent Provocateur Contributor

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); Australian Aborigines described a snake as a rainbow.

cutecat22 The Strange One Contributor

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); belly crawler!

Catrin Lewis Contributor Contributor Community Volunteer Contest Winner 2023

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); Legless one

AlannaHart Senior Member

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); Depends where it's set and how ancient the times.

ChronoArt New Member

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); I am not sure, if I did this correctly. I imagined how a scholar in those times would write it, if he wanted to create a description of all living things. "Sly serpent was created by God on the sixth day after creation, for it inhabits the land. It bears no limbs and is coated in hard scales. Once upon a time, serpent is able of shedding it's scales. Beware, you, who tries to befriend snakes. Many of them have sharp fangs it their mouth. They are venomous and single bite can kill."

jannert Retired Mod Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_baf2959458f069f49f82f020312a563b'); }); peachalulu said: ↑ Stick-that-moves Serpent Ophidian Click to expand...

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DATA REPORT article

Behavioral response of megafauna to boat collision measured via animal-borne camera and imu.

1 Coastal Oregon Marine Experiment Station, Oregon State University, Newport, OR, United States
2 Fisheries, Wildlife and Conservations Sciences, Oregon State University, Corvallis, OR, United States
3 Oceans, Hopkins Marine Station, Stanford University, Monterey, CA, United States
4 Irish Whale and Dolphin Group, Ventry, County Kerry, Ireland
5 School of Natural Sciences, Trinity College Dublin, Dublin, Ireland
6 Irish Basking Shark Group, Ireland

Overlap between marine megafauna and maritime activities is a topic of global concern. Basking sharks ( Cetorhinus maximus ; CM) are listed as Globally Endangered under the IUCN, though reported sightings appear to be increasing in Ireland. While such trends in the region are welcome, increasing spatiotemporal overlap between CM and numerous water users poses an increased risk of boat strikes to the animals. To demonstrate the risk and impact of boat strikes on marine megafauna, we present camera-enabled animal-borne inertial measurement unit (IMU) data from a non-lethal boat strike on a CM within a proposed National Marine Park in Ireland. We tagged a ~7-m female CM in County Kerry, Ireland, which was struck by a boat ~6 h after tag deployment. Comparison of pre-strike data with 4 h of video and ~7.5 h of IMU data following the boat strike provides critical insight into the animal’s response. While the CM reacted momentarily with an increase in activity and swam to the seafloor, it quickly reduced its overall activity (i.e., overall dynamic body acceleration, tailbeat cycles, tailbeat amplitude, and vertical velocity) for the remainder of the deployment. Notably, the animal also ceased feeding for the duration of the video and headed towards deep offshore waters, which is in stark contrast to the pre-strike period where the animal was consistently observed feeding along the surface in shallow coastal water. This work provides insight into a CM’s response to acute injury and highlights the need for appropriate protections to mitigate risks for marine megafauna.

Introduction

Overlap between marine megafauna and maritime activities has long been, and is increasingly, a topic of concern, especially given the increase in maritime traffic and the continued declines of some species. It has been demonstrated that phenomena such as the formation of “marine roads” (i.e., shipping routes) pose significant risk to large surface-active marine megafauna ( Pirotta et al., 2019 ). For example, Womersley et al. (2022) found that >90% of whale shark ( Rhincodon typus ) horizontal space use overlaps with persistent large vessel traffic and presents a significant mortality risk to these endangered sharks and Kite-Powell et al. (2007) estimated that collisions with large ships likely caused ~75% of known anthropogenic mortalities of critically endangered North Atlantic Right Whale ( Eubalaena glacialis ). While many studies focus on direct mortality caused by vessels, not all injuries cause direct mortality and non-lethal injuries can have significant short- and long-term consequences for animal physiology and behavior ( Rennolds and Bely, 2023 ). For example, an initial flight response can negatively affect energy budgets if it either requires increased muscle recruitment or reduces energy intake (i.e., if the behavior results in the loss of foraging opportunities; Rennolds and Bely, 2023 ). Additionally, the injury itself could have longer-term negative impacts through a sustained altered behavioral state to compensate for the injury or due to tissue recovery and/or immune responses [see Rennolds and Bely (2023) for a review of sublethal mechanical injury biology]. There is also the possibility that injuries that appear non-lethal initially can eventually lead to mortality long after the event. It is therefore important to understand the responses and recovery periods of animals impacted by non-lethal strikes, especially given the high probability of strikes to marine megafauna that spend significant amounts of time near the surface. To date, most research efforts have relied on scarring quantity and recovery over time to understand these impacts (e.g., Bradford et al., 2009 ; Lester et al., 2020 ; Penketh et al., 2020 ), as behavioral observations directly surrounding a strike are incredibly rare. Here, we describe the immediate impacts of a non-lethal vessel strike on the behavior of a female basking shark ( Cetorhinus maximus ; CM) that was captured with a camera-enabled inertial measurement unit (IMU).

The basking shark is the world’s second largest fish and was historically abundant worldwide. Overfishing and culling efforts up until the late 20th century led to global declines (e.g., McFarlane et al., 2009 ; Finucci et al., 2021 ; McInturf et al., 2022 ) from which CMs have been slow to recover, leading to listing as Globally Endangered by the IUCN ( Rigby et al., 2019 ). In Ireland, however, reported sightings appear to be increasing (Irish Basking Shark Group, personal communication); during certain months, individuals aggregate in shallow coastal hotspots, feeding at the surface on calanoid copepods ( Calanus spp.; Baduini, 1995 ; Sims and Quayle, 1998 ; Miller et al., 2015 ) and potentially mating ( Sims et al., 2022 ). Following public support, CM became the first fish to be listed under Section 23 of Ireland’s Wildlife Act of 1976 in 2022, rendering it illegal to injure or willfully interfere with the breeding or resting place of CM. Simultaneously, the Irish Basking Shark Group (IBSG), a local organization of researchers, conservationists, and educators, drafted a voluntary Code of Conduct for CM to limit anthropogenic impacts from human activities (i.e., swimming, drones, and vessel strikes), with the intention to guide binding protective legislation. Similar science-based plans for other megafauna such as whale sharks ( Jones, 2021 ) and manta rays ( Mobula alfredi ; Murray et al., 2020 ) have been proposed and successfully adopted in other regions. In April 2024, Ireland announced the creation of its first National Marine Park, protecting 70,000 acres of land and sea, including seasonal CM habitat. However, though these collective actions represent a promising opportunity to protect the species in one of the few locations where CM sightings persist, specific management plans have yet to be developed let alone implemented; a lack of deliberate and enforced guidelines to ensure the intended protections can result in negative consequences for marine megafauna (for example, Legaspi et al., 2020 ). Thus, while an increase in both sightings and public interest are encouraging signs for the recovery of the species as a whole, the increasing spatiotemporal overlap between CM and numerous water users (e.g., fishing and commerce)—even the ecotourism industry itself—poses an increased risk to the animals without appropriate protections in place.

To demonstrate the risk and impact of boat strikes on marine megafauna, we present camera-enabled animal-borne IMU data from a non-lethal boat strike on a CM within the proposed National Marine Park in Ireland. We describe the immediate response and the first few hours of the subsequent recovery period of the animal. To our knowledge, these are the first published IMU data and direct observation of such an event on any marine species and has important implications for our understanding of the non-lethal impact of anthropogenic interactions with CM and marine megafauna more broadly.

In April 2024, we deployed a Customized Animal Tracking Solutions (CATS; Australia) camera-enabled IMU package on a CM within Ireland’s newly proposed National Marine Park near the Blasket Islands, County Kerry ( Supplementary Figure 1 ). The IMU consisted of inertial sensors (12 channels of data: tri-axial accelerometers, magnetometers and gyroscopes, depth, temperature, and light; see Chapple et al., 2015 ) with a towed camera. The package was affixed to the body using two 12-cm monofilament leaders inserted into the dorsal musculature with a tagging pole and was set to release from the animal after ~12–18 h. The animal was sexed using underwater video and length was estimated based on comparison with the tagging vessel.

Data processing

Tag accelerometers were sampled at 200 Hz, gyroscopes and magnetometers at 50 Hz, and depth, pressure, light, and temperature at 10 Hz. We used custom-written scripts in MATLAB, 2023 following Cade et al. (2021) to decimate all data to 10 Hz, correct tag orientation for animal orientation (pitch, roll, and heading), and synchronize the video data from a towed float with the inertial sensors. Animal location was estimated for the duration of each deployment by interpolating pseudotracks of the animal derived from animal heading and speed, estimated from the amplitude of tag vibrations ( Cade et al., 2018 ), between the tagging location, with four resight locations over the first 5 h of the deployment and the tag pop-off position.

Following Andrzejaczek et al. (2018) ; Andrzejaczek et al. (2020) , we calculated vertical velocity (VV; the rate of change in depth over a 1-s period) and split the depth record into vertical swimming phases (ascending, descending, and level swimming). The depth data were smoothed using a 10-s running mean, and we calculated the average VV by taking the difference of this smoothed depth between successive points at 1-s intervals. Swimming phases were defined as VV > 0.05 m s -1 (ascents), VV<-0.05 m s -1 (descents) or 0.05 m s -1 >VV> -0.05 m s -1 (level). Note VV is presented below as the absolute value of VV but labeled as ascent or descent.

As a proxy of relative energetic expenditure, overall dynamic body acceleration (ODBA) was calculated by summing the absolute value of dynamic acceleration from all three axes ( Wilson et al., 2006 ). The dynamic component of acceleration was calculated by subtracting the gravitational component from the raw acceleration for each axis. The gravitational component of acceleration (static acceleration) was determined using a 3-s box smoothing window on the raw acceleration data ( Shepard et al., 2008 ).

Finally, we used a continuous wavelet transformation of the dynamic component of angular acceleration (i.e., sway) in Ethographer (Igor Pro 9, WaveMetrics, USA) to calculate tailbeat cycle (TBC; the time to complete a full tailbeat) and tailbeat amplitude (TBA; a proxy for the acceleration of the tailbeat wave) following Sakamoto et al. (2009) . Note that the amplitude here is not a direct measurement of the intensity of the CM’s dynamic movement, but rather a proxy for the relative intensity using a Morlet wavelet function to decompose the acceleration signal. This allows a relative measure of TBA to be compared across the deployment.

We grouped the calculated metrics into 30-min bins to compare response and recovery following the boat strike to baseline behavior (similar to Whitney et al., 2016 ). Because the distributions were not normal, we also assessed parameter values before and after the strike using a Wilcoxon non-parametric comparison of means.

Video was reviewed for evidence of feeding (i.e., gills open, Figure 1A ) before and after the strike as a proxy of resumption to pre-strike behavior.

Figure 1 Still photos taken from the animal-borne camera show the basking shark (A) feeding at the surface prior to the boat strike. At 13:53:30, (B) the shark attempted to make a large and quick evasive movement. However, (C, D) within a second, a large boat keel cut across the back of the shark, just behind the dorsal fin and (E) the shark was tumbled through the prop wake. (F) The shark immediately increased tailbeat frequency and powered down to the seafloor for 30 s. (G) Anti-fouling paint (blue), damage to the dermis, and a red abrasion were evident posterior to the dorsal fin where the keel struck the shark. (H) The shark remained associated with the seafloor as it swam in a more directed route into deeper waters for the next 7 h 27 min without feeding.

We tagged a ~7-m female CM at 08:02 local time (UTC+1) on 24 April 2024 while it was feeding on the surface near the Blasket Islands, Ireland (52.089°N, 10.420°W). Immediately following tagging, the shark dove to ~40 m for 7 min and then returned to the surface ( Figures 2A, B ) and began actively feeding. It swam in tortuous routes east of the Blasket Sound, mostly on the surface and feeding ( Figures 1A , 2A, C ), with an occasional dive to ~40 m for the next 5 h 50 min. At 13:53:30, the shark was actively feeding at <1 m depth when it attempted to make a large and quick evasive movement ( Figure 1B ). Within a second, a large boat keel cut across the back of the shark, just behind the dorsal fin ( Figures 1C, D ), and the shark was tumbled through the water ( Figure 1E ). Once righted, the shark immediately increased tailbeat frequency and powered down to the seafloor for 30 s ( Figures 1F , 2D ; Supplementary Videos 1 , 2 ). There was immediate damage to the dermis, anti-fouling paint, and a red abrasion, posterior to the dorsal fin where the keel struck the shark, but no apparent bleeding or open wound ( Figure 1G ). The shark remained deeper than 10 m, consistently along the seafloor ( Figure 1H ), as it swam in a more directed route, interspersed with periods of near motionless movement near the sea bottom ( Figure 2E ; Supplementary Video 3 ) for the next 7 h 27 min without feeding, until the tag released at 21:22 ( Figure 2 ).

Figure 2 (A) Depth data (black) over the course of the deployment show the surface-associated foraging prior to the strike event (red arrow). Each point is a depth s −1 . The spacing of the points immediately following the event indicates relatively how quickly the basking shark swam down, which can be compared to the response to tagging (first descent). The shark did not return to the surface after the boat strike but stayed along the bottom for the duration of the videos. (B–E) present 8-min sections of the entire depth plot (indicated by the shaded sections in (A) ) with the line colored by Tailbeat Cycle, including (B) immediately post-tagging, (C) feeding at the surface, (D) the boat strike, and (E) the period where the animal was near motionless on the bottom.

Inertial sensors revealed a response in the behavior of the shark immediately following the strike and for the remainder of the deployment. Once the animal righted itself, there was an immediate burst of speed to 5.6 m s −1 with an average of 3.1 m s −1 ± 0.52 (mean ± SD) during the 30-s descent. This coincided with an increase in downward vertical velocity (2.3 m s −1 ± 0.26) as it swam toward the seafloor, but once the animal reached the seafloor, the vertical velocity (0.12 m s −1 ± 0.085) stayed below pre-strike level (0.22 m s −1 ± 0.21; p < 0.0001) with little variability ( Table 1 ; Supplementary Figure 2 ). Positive vertical velocity (i.e., ascent; 0.088 m s −1 ± 0.038) also remained below pre-strike levels (0.16 m s −1 ± 0.098; p < 0.0001), suggesting an overall decrease in vertical activity ( Table 1 ; Supplementary Figure 3 ). Similarly, ODBA initially spiked (0.37 g s −1 ± 0.20) during the 10 s following the boat strike, which was ~8× greater than the mean pre-strike value (0.047 g s −1 ± 0.02). Then, ODBA fell below the pre-strike value for the remainder of the deployment (0.027 g s −1 ± 0.016; p < 0.0001; Table 1 ; Supplementary Figure 4 ). Similar to ODBA, TBC and TBA initially peaked in activity (i.e., lower TBC and higher TBA) immediately after the strike (1.9 s ± 0.63 and 5.7 ± 0.82), but then decreased (5.2 s ± 1.1 and 1.6 ± 0.76) below pre-strike levels (4.4 s ± 0.42 and 2.5 ± 0.95; p < 0.0001 for both) for the remainder of the deployment ( Table 1 ; Supplementary Figures 5 , 6 , respectively).

Table 1 Results from a Wilcoxon non-parametric comparison of means before and after the strike for the six different metrics analyzed from the IMU.

We present data showing an immediate response by a CM to a boat strike in the newly delineated National Marine Park. While the CM reacted to the strike with highly energetic movement away from the event, it quickly reduced its overall activity (ODBA, TBC, TBA, and vertical velocity) for the remainder of the deployment. Notably, the animal also ceased to feed at any point across the remaining ~7.5 h and headed towards deep offshore waters. This is in stark contrast to the pre-strike period where the animal was observed feeding along the surface in shallow coastal water for 84% of the first ~6 h. It is common for animals to increase activity during recovery periods after handling (e.g., fish, Dolton et al., 2022 ; sharks, Iosilevskii et al., 2022 ; and mammals, Shuert et al., 2021 ). However, the CM exhibited flight behavior and a reduction in activity, such that it appeared to be resting on the bottom at times ( Figure 2E ; Supplementary Video 3 ). This difference likely stems from the difference in the stressor and required response; capture stress (i.e., fight time, handling) initiates changes in blood chemistry (e.g., buildup of lactate; Gallagher et al., 2014 ) and increased activity can aid in the removal of lactate via oxidation ( Iosilevskii et al., 2022 ). Because the CM was responding to a brief acute stressor instead of capture, it likely did not require increased activity to drive oxidation, but instead responded to traumatic event/injury with reduced activity ( Mercier et al., 2003 ). We note that species- and individual-specific differences do occur in acute stress response; thus, we cannot make a broader prediction of post-strike behavior across CM.

Animals in studies of post-release mortality and recovery likely employ very different behavioral and physiological pathways to cope with capture stress than an acute event/injury such as observed here. As these are, to our knowledge, the first direct data collected during a boat strike and the extent of any internal injury is unknown, the expected time to mortality or recovery of the CM is uncertain. While the initial strike was apparently non-lethal and CM did remain active for the 7.5 h following the event, the deployment duration was not sufficient to confirm a recovery back to pre-strike behaviors or determine any long-term consequences (e.g., effects of missed feeding opportunity; Rennolds and Bely, 2023 ) or eventual mortality. More work is needed to understand the long-term implications and recovery from such events.

It is important to note that while this interaction induced significant behavioral changes and cost to the animal and apparent abrasions, it did not leave obvious external injury definitively indicative of a boat strike (e.g., deep gashes or deformations). Thus, while physical evidence of boat strikes has been opportunistically observed in the area (Massett, personal observation; Supplementary Figure 7 ), observations of physical damage likely underestimate the actual prevalence of interactions. This finding is also informative for work in other areas where research efforts have relied on scarring quantity and recovery over time to understand the risks and impacts of boat strikes (e.g., Bradford et al., 2009 ; Lester et al., 2020 ; Strike et al., 2022 ).

These data emerge at a critical moment in the protection of CM, with the opportunity to justify and inform imminent management efforts for the species. With the increasing numbers of sightings in the region, and throughout Ireland (IBSG, personal communication), it is very likely that CM–vessel interactions will continue to increase with the recovery of the population. While observations of physical damage are imperfect, as mentioned above, a systematic recording of apparent physical damage could nonetheless provide a relative or minimum measure of interaction rates. Thus, we recommend prioritizing a systematic catalog of physical injuries to provide a conservative baseline of boat strike interactions and inform management actions. Additionally, with CM’s recent listing under Ireland’s Wildlife Act of 1976, which increased levels of protection from injury and disturbance in critical breeding or resting habitats, the newly delineated National Marine Park in County Kerry represents an opportunity to establish stronger protection for CM and other marine species. These protections further justify a systematic catalog of injuries and could mitigate threats, not only of these boat strikes, but also other anthropogenic risks encountered by marine species (e.g., ground lines connecting lobster traps; Supplementary Figure 8 ) within a defined marine area.

There have also been community-led efforts to mitigate such harmful human–wildlife encounters, such as through the Code of Conduct proposed by the IBSG. This document (available in English and Irish; https://www.baskingshark.ie/downloads ) specifically identifies vessel strikes as a potential CM threat and offers guidelines for reducing these risks. However, neither this nor any other version of the Code of Conduct has been formally adopted as enforceable policy by any regulatory body. Within this conservation context, the data we present therefore offer further support for both a legally binding Code of Conduct and a formal management plan within the marine park, and throughout Ireland, to enhance protection measures for the species here.

Boat strikes have been reported as an ongoing global threat to CM (e.g., McInturf et al., 2022 ) and other marine megafauna (e.g., Kite-Powell et al., 2007 ; Womersley et al., 2022 ), but defining their scope and impact is challenging given the lack of reporting and opportunities to record behavioral responses immediately before and after events. Though overlap with vessel activity is likely to be highest in locations such as Ireland, where CM are still sighted regularly at the surface, we recommend that research and conservation efforts throughout the species’ range consider the likelihood that boat strikes, and their subsequent non-lethal effects, may be more common than previously considered. More work needs to be done to assess their impact on the short- and long-term recovery of this species.

Data availability statement

The raw data supporting the conclusions of this article will be made available by the authors, without undue reservation.

Ethics statement

The animal study was approved by Oregon State University-Institutional Animal Care and Use Committee #IACUC-2023-0373 Health Products Regulatory Authority of Ireland (#AE19136/P127). The study was conducted in accordance with the local legislation and institutional requirements.

Author contributions

TC: Conceptualization, Formal analysis, Funding acquisition, Investigation, Methodology, Project administration, Resources, Supervision, Visualization, Writing – original draft. DC: Conceptualization, Funding acquisition, Investigation, Methodology, Project administration, Writing – review & editing, Data curation, Formal analysis, Supervision, Visualization. NM: Investigation, Methodology, Resources, Writing – review & editing. JG: Conceptualization, Funding acquisition, Supervision, Writing – review & editing. NP: Conceptualization, Funding acquisition, Investigation, Methodology, Project administration, Supervision, Writing – review & editing, Resources. AM: Conceptualization, Funding acquisition, Supervision, Writing – review & editing, Investigation, Methodology, Project administration, Resources, Data curation, Visualization.

The author(s) declare financial support was received for the research, authorship, and/or publication of this article. Funding for this project was provided by Future Legend Films, Oregon State University, and National Geographic and Human Frontiers Science Project (HFSP - RGP0010/2020).

Acknowledgments

The authors would like to thank Jamie Cornelius, CHR Cornapple, Evan Batzer, Emmett Johnston, Simon Berrow, Donal Griffin and other members of the Irish Basking Shark Group, Niko Liebsch at Customized Animal Tracking Solutions, Captain Michael (“Mick”) Sheeran, and Vincent Brown with Blasket Island Eco Marine Tours and Future Legend Films.

Conflict of interest

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Publisher’s note

All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article, or claim that may be made by its manufacturer, is not guaranteed or endorsed by the publisher.

Supplementary material

The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fmars.2024.1430961/full#supplementary-material

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Keywords: boat strike, basking shark, inertial measurement unit, non-lethal injury, marine megafauna, behavior

Citation: Chapple TK, Cade DE, Goldbogen J, Massett N, Payne N and McInturf AG (2024) Behavioral response of megafauna to boat collision measured via animal-borne camera and IMU. Front. Mar. Sci. 11:1430961. doi: 10.3389/fmars.2024.1430961

Received: 05 June 2024; Accepted: 28 June 2024; Published: 24 July 2024.

Reviewed by:

Copyright © 2024 Chapple, Cade, Goldbogen, Massett, Payne and McInturf. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) . The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Taylor K. Chapple, [email protected]

Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher.

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Describe the Shark Writing Worksheet (teacher made)
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Shark Writing Template (teacher made)
Shark Writing Prompts & Copywork
Surrounded by Sharks

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COMMENTS

Top 30 Adjectives for Shark (Negative & Positive Words)
To describe a shark in writing, start by painting a picture of its physical attributes, from its sleek, streamlined body to its razor-sharp teeth. Delve into its behaviors, from its swift, powerful movements to its predatory nature. Also, touch upon the environment, such as the deep blue ocean or coral reefs, to set the scene.
Shark
The shark is as essential to the oceans as the wolf is to the forest. It brings a balance that protects the smaller creatures and flora, keeping their predators lower in number. As such the shark is a protector of the environment, a large and beautiful part of creation. By Angela Abraham, @daisydescriptionari, September 4, 2019 .
PDF Creative Writing Sharks
Creative writing- sharks Look at this picture. How many adjectives ... Use at least 5 of your describing words You could: Use a similes/metaphors (the wind howled like a lost wolf trying to find its pack) Use alliteration, repetition and other literacy devices
Shark Adjectives: Describing Words & Examples
Powerful: Sharks possess a powerful bite force, making them one of the top predators in the ocean. Graceful: Despite their size, sharks exhibit a graceful movement as they navigate the depths of the sea. Adaptable: Sharks are highly adaptable creatures, able to thrive in a variety of marine environments.
Josh Hodges Writing
We would like to show you a description here but the site won't allow us.
Master List of Physical Description for Writers
Eyes - General. For all the words about describing facial features, I'm focusing more on physical descriptions rather than emotional expressions, though there's a little crossover! You can also check out my long list of facial expressions. sharp. close-set. sunken. bulging. bedroom. sparkling.
Fiction University: Tips on Writing an Underwater Scene
Something I like to do is to make the underwater world a character in your story, not just a location. And as a character, he needs to create lots of conflict and obstacles to your hero. Unless it is at the end of the story, then the ocean can be calm and friendly. Here are some hints on how to do that. Whether your hero is skin diving or on ...
47 Free Ocean Writing Ideas to Inspire » JournalBuddies.com
27 Fabulous Describing the Ocean Writing Ideas. I could taste the salt in the air and knew I had to get to the ocean to…. The lapping waves…. The hypnotic motion of the ocean…. Describe the beauty of the ocean and how it makes you feel. The ebbing tide was…. I was hypnotized by the water because of its….
A Guide to Descriptive Writing
Writing description is a necessary skill for most writers. Whether we're writing an essay, a story, or a poem, we usually reach a point where we need to describe something. In fiction, we describe settings and characters. In poetry, we describe scenes, experiences, and emotions. In creative nonfiction, we describe reality.
How to Use Descriptive Writing to Improve Your Story
In fiction writing, authors bring characters to life and create imaginative settings through descriptive writing—using vivid details, figurative language, and sensory information to paint a picture for readers. Well-crafted descriptive writing draws readers into the story. It's an essential part of storytelling that every author needs to ...
0052
Unleash your creativity with our 'Shark Creative Writing Prompt'. Explore the depths of the ocean and experience a diver's thrilling encounter with a great white shark. ... How would you describe what the shark looks like? Zoom into Another Perspective. Compare and Contrast Writing Prompt Use a Venn diagram to compare the tropical world in this ...
Shark Attack
Shark Attack. You're sailing in the ocean with friends when a shark attacks your boat, knocking off your friend who is driving the boat. There are two others on the vessel with you and you have to work with them to quickly save the driver from the water (and being eaten by the shark). Write this scene. Brian A. Klems.
The Best Examples Of The 5 Senses In Descriptive Writing
So in this section, I've provided some descriptive writing examples from some bestselling books that make great use of the 5 senses. "The tearing of flesh, as though a butcher were yanking meat from a flank. The bubbling of liquids and the soft rasping of the cutting tools.". Tooth & Nail, Ian Rankin.
16+ Shark Poems for Kids To Read
Shark Poems That Rhyme. Stay on a boat 🚣, don't disembark…. Is a shark that bites you in the swimming pool. Travelling in gangs. Is no walk in the park. Hunted, killed and sold. This tale never gets old. Killed for their teeth, skin and fins. For shark-fin soup in tins.
Describe the Shark Writing Activity for Kids
Spice up your ELA lessons during Shark Week with our Shark Writing Activity and help your students practice their descriptive writing skills. Your students can be as creative as they like when describing the picture of the shark, but we've included a word bank of adjectives to inspire them, too. They'll need to choose the most appropriate adjectives to include in their descriptions and ...
Master List of Ways to Describe Fear
A quill still wet with thick black ink rested next to a sheet of parchment filled with writing in a language he couldn't read. Crude drawings made with heavy strokes were set within the words. Some of them were disturbing — a bleeding hand cut open with a knife and a person floating lifeless below a ghoul with black eyes poised to attack.
Writing Sharks
Writing Sharks Our community project aims to teach individuals about sharks and ocean conservation, and how to access the tranquility that comes with the oceanic territory. Through creative writing programs, we plan to show that we're all connected, and that sharks and the ocean can help bring inner peace. Our creative writing campaigns aims to:
6 Ways to Write Better Character Descriptions
6 Ways to Write Better Character Descriptions. Written by MasterClass. Last updated: Aug 17, 2021 • 5 min read. Great character descriptions can bring your writing to life while building a believable world for your reader. Here are some tips on how to describe a character in your own writing. Great character descriptions can bring your ...
Describe the Shark Writing Worksheet (Teacher-Made)
This Shark Colour-by-Number Page is the perfect resource to include in a lesson about sharks. Ideal for KS1 kids to work on their counting and colouring skills. If you want to show your children another type of shark, try this Nurse Shark Colour By Number. Get crafty during a lesson about sharks and have your kids make this Hammerhead Shark ...
Descriptive Essay
Descriptive Essay - A Shark Attack. Good Essays. 1095 Words. 5 Pages. Open Document. I sailed crashing tides under soaring skies, the roar of powerful waves as mighty as a lion. With my trustworthy toy parrot named Yarr by my side, no task proved impossible. A shark attack would leave my ship battered, but I always managed to patch up the holes ...
Shark Descriptive Writing
Rob Stewart claims in the beginning of the film; "he loves ocean when he was a little, and the shark is his favorite animal on earth.". He hates that how people are impacted by the mass media. "Sharks are bad animal!" "Sharks are fierce animal!"--. These statements are delivering a message from the movie "Jaws".
Describe the Shark Writing Worksheet (teacher made)
This Shark Colour-by-Number Page is the perfect resource to include in a lesson about sharks. Ideal for KS1 kids to work on their counting and colouring skills. If you want to show your children another type of shark, try this Nurse Shark Colour By Number. Get crafty during a lesson about sharks and have your kids make this Hammerhead Shark ...
Describe a snake
I imagined how a scholar in those times would write it, if he wanted to create a description of all living things. "Sly serpent was created by God on the sixth day after creation, for it inhabits the land. It bears no limbs and is coated in hard scales. Once upon a time, serpent is able of shedding it's scales.
Frontiers
Figure 1 Still photos taken from the animal-borne camera show the basking shark (A) feeding at the surface prior to the boat strike. At 13:53:30, (B) the shark attempted to make a large and quick evasive movement. However, (C, D) within a second, a large boat keel cut across the back of the shark, just behind the dorsal fin and (E) the shark was tumbled through the prop wake.

Top 30 Adjectives for Shark (Negative & Positive Words)

Description of Shark

Words to Describe Shark

Keen-sensed

Negative Words to Describe Shark

Other Related Words to Describe Shark

Words to Describe a Hammerhead Shark

Words to Describe a Shark Fin

Words to Describe a Basking Shark

Words to Describe a Shark Attack

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shark - quotes and descriptions to inspire creative writing

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Shark Adjectives: Describing Words & Examples

How to Describe sharks? – Different Scenarios

Describing Words for sharks in English

Adjectives for sharks

Positive Adjectives for Sharks with 12 Example Sentences

Negative Adjectives for Sharks with 5 Example Sentences

Synonyms for sharks

Antonyms for sharks

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