scary forest description creative writing

35 Words to Describe a Forest Well in a Novel

By: Author Hiuyan Lam

Posted on Last updated: October 20, 2023

Categories Vocabulary Boosters

A huge part of writing a novel is using the best words to describe various settings to bring your story to life. If you have a scene set in a forest, your words to describe a forest must reflect everything the characters (if any) can see or feel, or should paint a vivid picture of the setting.

But that’s easier said than done, isn’t it? Everyone gets stuck sometimes and finding the best words to describe the simplest of things can take some time.

In this post, we’re going to focus on a popular scene that can be tricky to describe for some: the forest. Here are 35 of the best words to describe a forest well in a novel:

6 words for a forest at night (black forest)

  Scenes take place in the forest at night for various reasons. Perhaps you want to create suspense or mystery.   A forest at night can also be used to create drama or romance. However, if you don’t have the best words to describe a forest at night, your delivery is sure to fall flat.   Here are 6 words to describe a forest at night:  

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20 of the Best Words to Describe a Storm in Writing

6 words to describe a forest in winter (white forest)

  Forests in winter are truly a sight to behold, especially when they are blanketed by a cover of white snow. A white forest may be used to portray purity or light.   A white forest may also be used to portray isolation or emptiness. Here are 6 words to describe a forest based on what you wish to portray:  

6 words to describe a forest in spring (green forest)

  During spring, the forest is at its busiest with creatures roaming about, and plants sprouting their blossoms. It is a period of rebirth and regrowth that may be used to set a specific mood or contrast a less favorable circumstance.   Whatever the case may be, here are 6 words to describe a forest in spring:  

20+ of the Best Words to Describe Night in a Story

6 words about the Amazon rainforest

  The Amazon is the world’s largest rainforest and contains an infinite number of green trees of various shades and sizes. It is also one of the most diverse biomes on the planet.   Here are some words to describe a forest that will help you to paint an accurate picture of the Amazon rainforest.  

6 words to convey the atmosphere of a mysterious/deep forest

  When describing a forest to an audience, you will need words to describe more than just the trees.   You also need to pay attention to the atmosphere, especially if it is mysterious or deep.   Here are some words to describe a forest based on its atmosphere  

5 words for the sounds of a forest

  Lastly, using sounds will paint the ultimate picture in your readers’ heads.   Here are 5 words to describe a forest based on the sounds one may hear:  

25 of the Best Words to Describe a Bad and Toxic Relationship

  When using these words to describe a forest, ensure they complement the scene you are trying to set, rather than adding a bunch of words to fill the page, otherwise, it may be confusing for your reader.   Picture it in your head before finding the appropriate words.  

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Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Describe a Forest in a Story

By Isobel Coughlan

Do you require some tips on how to describe a forest in a story? Take a look at the 10 words below. Some of them might be useful for your writing.

Something that seems frightening and strange or makes people feel nervous.

“The eerie forest beckoned the children. They were deeply afraid of it, but against their better instincts, they started following the trail.”

“Amanda looked out at the eerie forest. It has scared her ever since she was a child.”

How it Adds Description

If you want to portray your forest as a frightening or creepy place, consider using the word “eerie.” This adjective shows that the forest has a scary aura, and it might put some characters off entering the woodland. It could also imply that dark characters or antagonists lurk beneath the canopy, making it a dangerous place for others.

Something that’s bright yellow in color.

“By late autumn, the forest was completely golden . The lush green leaves had all withered away as the weather cooled.”

“The sun set over the sprawling forest, making it a golden paradise for a short while.”

“Golden” gives your readers a clear visual of the forest and its color. This can show it’s a yellowish color due to the leaves changing color in the autumn. It can also show the forest has a golden tint from the sun setting over it, something that happens during summer evenings. Both occurrences can make the forest feel magical and sometimes even romantic.

Something that has a large number of things placed very close together.

“The prince was surprised when he arrived at the forest. It was too thick to see through.”

“The young boy sprinted through the thick forest, but it seemed like he was running in circles.”

You can use “thick” to describe something that’s very densely packed — and in the case of a forest, this is one with lots of trees and leaves within a small space. A “thick” forest might be hard to navigate or even see through, and this might scare characters or make them feel like they’re trapped. It’s also easy to get lost in a “thick” forest.

Somewhere that has lots of plants and trees .

“The leafy forest was a paradise for the caterpillar.”

“The good witch felt at home in the leafy forest. Anywhere green and natural woke up her powers.”

“Leafy” is often used to draw attention to the abundance of plants and leaves in a setting. You can use “leafy” to show your forest is particularly verdant or green, and this might attract animals, insects, or nature-loving characters.

Something that smells or looks like earth .

“The traveler inhaled the earthy forest’s scent before he even saw the trees.”

“As he trudged through the earthy forest, Paul realized he’d never spent so much time away from the city.”

Sometimes, forests have an “earthy” scent due to the earth on the ground and the smells of the trees. You can use “earthy” to give your readers a vivid image of the forest, allowing them to understand what your characters are experiencing. Some characters might be comforted by an “earthy” forest, but city dwellers might feel uneasy here because they’re not used to so much nature.

Something that’s very large .

“The pixies lived in a vast forest that spanned over three thousand acres.”

“Annie gazed at the vast forest in amazement. It was hard to believe it crossed into two different states.”

If you want to emphasize how large your fictional forest is, consider using “vast.” This adjective shows how large the size of the whole forest is, which is great for helping your reader understand the layout of the setting. Some characters might be fascinated with the “vast” forest, especially if it’s unexplored. However, some might feel uneasy about its size as they don’t know what’s lurking in the shadows.

Something that is small in amount or number.

“Freddy had expected a plentiful and green forest. But sadly, he was met by a few sparse trees.”

“In the winter months, the forest was sparse . All the animals hibernated, and the leaves disappeared.”

Not all forests are abundant, and you can use “sparse” to show yours has fewer trees or is very spread out. Forests might become “sparse” in the winter months due to the cold weather conditions. A forest that’s “sparse” for no apparent reason might worry characters, as this change could foreshadow negative plot events. Helpful characters might try to plant trees in a “sparse” forest in order to restore life to the area.

Somewhere that is very old that belongs to the distant past .

“The ancient forest held secrets from every generation.”

“Quentin shuddered at the thought of the ancient forest. It was definitely haunted.”

“Ancient” can be used to show how old the forest is or that it’s linked to a specific period from the past. Some characters might find the forest’s age scary, as over time, lots of secrets and bad things could have occurred — in a fantasy novel, this could even mean it’s haunted.

Somewhere that’s full of things or people.

“Every Sunday, the villagers visited the crowded forest and paid their respects to the forest fairies.”

“The emerald forest was crowded with trees of every species.”

You can use “crowded” to show that the forest is full of people, trees, or both. This can create a sense of life in the forest, as it’s not empty or barren. However, a “crowded” forest might make some characters feel claustrophobic as there might not be much room, or the exits might be blocked.

10. Mystical

Somewhere with influences and powers that aren’t understood.

“No one knew why the mystical forest glowed at night, and no one was brave enough to ask why.”

“The old woman searched for a mystical forest with a spring that granted eternal life.”

In fiction, some forests can have magical powers or spiritual influences. Describing your forest as “mystical” shows that it has unknown abilities that could help or hinder your characters, depending on whether your forest is good or evil. Your characters may have to complete an epic journey to access the “mystical” forest, setting up the premise for the story.

Search for creative inspiration

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

dark woods - quotes and descriptions to inspire creative writing

• navigators of the fog

The dark woods stand as noble black knights, fresh from the fields of legend.

In the dark woods we navigate the path not by sight yet by faith and memory.

The dark woods release the sounds of a plethora of nocturnal ghosts, of they who may move safely within the hug of grey shadowed night.

Dark woods to the playful eye and soul are a time to truly feel alive, to push the frontiers of our adventurous sense.

When the dark woods sleep and dream, we do the same until light gifts the day new bright and joyous hues. When to the newly opened eye, the trees wave their green flags in happy whisper, we play once more.

The path at my feet fades as it leads into the darkness of the woods, yet follow it I must for the sake of Georgina. Somewhere in there is the answers she needs, and so my feet follow the narrow strip of naked earth among the giants of root and leaf. I let my hands touch their skin as I pass, feeling their gentle spirits soothe my own. For this is their world as they stretch toward the light they never see yet sense, and I must do the same... open up my other senses... to sound, to aroma and listen so very carefully to every instinct.

Dark woods of deepened hue find tranquility in the starlit velvet, in the steady glow of moonlight.

The dark woods, that community of heaven-spun trees, sleep and dream together of the dawn.

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WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Setting Thesaurus Entry: Woods at Night

March 5, 2011 by BECCA PUGLISI

There is a forest entry already, but I think that at night the woods can be an entirely different setting, full of mystery and sometimes fear. I figured it deserved its own entry! Notice how other senses are utilized more so than sight–an unusual occurrence.

Dark tree trunks, shadows, overhanging limbs across the path seen at the last second, clumps of bushes, barely visible black trails snaking through the undergrowth, moon shining through a lattice of leaves, patchy sky & stars seen in glimpses through tree breaks, tall shadowed pines stretching up like arrows into the sky, streaks of cloud against the…

Wind slipping through leaves, cracking undergrowth with each step, creaking tree trunks, the flutter of wings unseen, snapping twigs, grass and weed sliding against pant legs, breathing sounds, coyote calls, fox yipping, wolves howling (if within location), snarls, padding feet along a trail, a grunt of pain at catching a root or tripping on dead fall, a rip of…

Rich earth, rotting leaves, pine needles, fresh air, a slight scent of flowers, earthy fungus, tree sap, wild animal musk (if close), possibly the spray of a skunk (if around), green growing things (spring & summer), moss

Sweat on lips, dryness in throat, sometimes a cold metallic tang if lots of stone is present

Cobwebs in face, cold, dewy leaves sliding across skin, slipping on wet leaves and mushrooms, tripping on bumpy roots, stones, dead fall, thorns scratching skin, scrapes and cuts on hands from falling in the dark, pine needles embedded in skin during fall, twisting and jerking at every unfamiliar sound, holding hands out to ward off unseen obstacles like tree…

Helpful hints:

–Think about the conflict that might be present in your setting.

Your character’s emotions will be on high alert at night because their visibility is low, making it a great time to insert conflict. This Conflict Scenario Database is loaded with ideas to help you.

–The words you choose can convey atmosphere and mood.

Example 1:  Devin dove behind a wide cedar trunk just off the trail. Heart slamming against his ribs, he gulped at the air, trying to slow his breathing enough to hear. Back in the shadows, branches thrashed and snapped as Valio growled sharp orders to his men. Sunset had finally drained out of the sky overhead, sheathing the woods in shadow. Devin pressed his face against the bark, the ridges biting into his skin, and tried to become one with the tree…

–Similes and metaphors create strong imagery when used sparingly.

Example 1: (Simile)  Eileen worked her way along the narrow trail, leaves sliding across her bare forearms like wet tongues…

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

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Reader Interactions

May 1, 2020 at 8:45 am

This is my new account! Thanks for all your kind replies! 🙂

March 11, 2020 at 3:32 pm

if anyone could help me with how to describe palaces and castles, please comment me back.

March 11, 2020 at 4:24 pm

HI Kit, You can find information on Castles and other fantasy settings at our site, One Stop for Writers: https://onestopforwriters.com/scene_settings

Happy writing! ~angela

December 27, 2019 at 8:16 am

this has just made me re think and re write my whole stroy thank you this really helps

May 1, 2020 at 8:43 am

happy to help!

P.S. I’m Angela, this is just a new account! 🙂

July 13, 2017 at 2:55 pm

I would take that fear away from you Laura. Having spend my childhood surrounded by woods on the hills and shore of Cayuga Lake I have spent time in the woods alone at night. It is the imagination and the untrained ear that brings fear into the equation. Shadows unseen during the day become magical at night. All the nocturnal animals want nothing to do with you.

May 1, 2020 at 8:44 am

Thank you so much for your kind reply. Happy to help you always!

December 9, 2011 at 3:17 pm

I do not think I would be walking around the woods at night.

December 6, 2011 at 2:06 pm

Just came across this one and I have to say, it really helped me with a scene I was struggling with. Thank you so much!

March 9, 2011 at 9:15 am

I think the dark tree trunks description sums it up for me. Creepy and suspenseful. This will help me loads in my continued search for publication and getting my story just right.

March 7, 2011 at 1:20 pm

I totally agree, Ralfast. I was just talking about this the other day with my kids, that if they really wanted to see what it would be like at night they would have to go far, far out into the country, beyond all light pollution and population.

March 7, 2011 at 1:15 pm

What makes forest so frightening for the modern viewer/reader is the near total darkness. We are so used to having sources of light 24/7 that our mind panics when we lack it.

March 6, 2011 at 2:41 pm

I love the woods and only a few times have I experienced them at night. It can be a beautiful-creepy feeling.

March 6, 2011 at 1:41 pm

Great–I’m so glad this one helps. So many great stories have night scenes that take place in a forest or wooded area. I think this is a setting that naturally creates tension.

Hope everyone is having a good weekend!

March 6, 2011 at 2:23 am

Ooooh, just thinking about the woods at night gives me the willies. You nailed it!

March 5, 2011 at 8:23 pm

Very timely. Might be needing this for my wip!Thanks!

March 5, 2011 at 7:31 pm

Loved this post! I just recently started reading this blog, and it has helped me to totally rethink how I’m going to write! Thanks!

March 5, 2011 at 11:25 am

Just wrote a scene involving the woods at night. You are right, they definitely deserve their own entry!

March 5, 2011 at 11:08 am

This totally makes me want to go write a fairy tale. =)

March 5, 2011 at 10:46 am

The woods are lovely dark and deep but I have promises to keep and miles to go before I sleep….

March 5, 2011 at 8:58 am

Walking through the woods at night is definitely different than during the day! I don’t think you could pay me to walk through the woods at night!

[…] Does your setting take place at night? Check out this similar Entry: WOODS AT NIGHT […]

[…] beautiful Brothers Grimm-inspired gallery of forest photographs. And if you get stuck, check out Writing Helping Writers’ “Forest Thesaurus” for even more […]

[…] hushed voices and whispers, muffled footsteps, your own heartbeat. Also, see the setting entry Woods at Night. EMOTIONAL TRIGGERS: Mood: Falling stars happen so quickly; to catch sight of one makes the […]

Tim Kane Books

Strange is the new normal, how to write creepy scenes to make your readers squirm.

Most writers who delve into horror hit the prose with a bag of clichés and heavy handed stage props—swirling fog, glowing eyes, wicked laughs. Don’t get me wrong, camp can be great (if it’s intentional). However, a more subtle approach can work wonders.

Add Details One by One

Use disturbing details or reversals when describing your scenes. Each one, taken by itself, does little, but in combination, they imbue the reader with unease. Consider Cold Skin by Albert Sánchez Piñol. Here an unnamed narrator just inhabited a weather station on a deserted island.

Just then, I heard a pleasing sound far off. It was more or less like a heard of goats trotting in the distance. At first, I confused it with the pattering of rain; the sound of heavy and distinct drops. I got up and looked out of the closest window. It wasn’t raining. The full moon stained the ocean’s surface in a violet hue. The light bathed the driftwood lying on the beach. It was easy to imagine them as body parts, dismembered and immobile. The whole thing brought to mind a petrified forest. But it wasn’t raining.

Reversal : The narrator thinks it’s raining, but then there’s no rain. We wonder what’s creating that pattering sound, and the not knowing makes us uneasy.

Disturbing details : The water is stained violet, a bloodlike color. This idea is cemented in the reader’s skull with the driftwood, described as dismembered limbs.

Let the Character Freak Out

Nothing creeps out a reader faster than letting the protagonist freak out. Ever wonder why there are so many screams in horror movies? It’s the same thing. As an author, you must find the written equivalent to the scream.

In Bag of Bones by Stephen King, the protagonist, Mike Noonan, begins to believe that his house is haunted. He’s in the basement and hears the sound of someone striking the insulation, but no one else is home.

…every gut and muscle of my body seemed to come unwound. My hair stood up. My eyesockets seemed to be expanding and my eyeballs contracting, as if  my head were trying to turn into a skull. Every inch of my skin broke out in gooseflesh. Something was in here with me. Very likely something dead.

King lays it on thick here. Instead of one physical reaction, he dumps the whole bucket on us. He doesn’t dazzle us with a etherial decaying corpse. We won’t even see the ghost till the final chapters. No. He tells us how Noonan feels just in the presence of the thing and that’s what creeps us out.

Another example of the character freaking out can be seen in Shirley Jackson’s  The Haunting of Hill House .

Now we are going to have a new noise, Eleanor thought, listening to the inside of her head; it is changing.  The pounding had stopped, as though it had proved ineffectual, and there was now a swift movement up and down the hall, as of an animal pacing back and forth with unbelievable impatience, watching first one door and then another, alert for a movement inside, and there was again the little babbling murmur which Eleanor remembered; Am I doing it? she wondered quickly, is that me? And heard the tiny laughter beyond the door, mocking her.

Here the character doubts herself and what she sees. This is essential to any horror story. When weird things happen, the character mysteries react accordingly. The stranger the situation, the stronger the reaction. And most of us would doubt our sanity in creepy situations.

Let The Reader Do the Imagining

Why should you, the author, do all the heavy lifting. Your reader’s imagination will often fill in the blanks for you. Take this example from Stephen King’s The Girl Who Loved Tom Gordon .

As she reached the driver’s door of the cab, which hung open with vines twisting in and out of its socket of a window, lightning flashed again, painting the whole world purple. In its glare Trisha saw something with slumped shoulders standing on the far side of the road, something with black eyes and great cocked ears like horns. Perhaps they were horns. It wasn’t human; nor did she think it was animal. It was a god. It was her god, the wasp-god, standing there in the rain.

Notice that the monster is only vaguely described. It’s called “something” twice. This lets the reader fill in the blanks. There is enough description that we at least know it’s a big hulking creature. This is the literary equivalent of when Ridley Scott only showed glimpses of the alien in Alien .

Use Strong Verbs

Finally, strong verbs will help any writer to shine, but they can also allow one character to shine over another. Take this excerpt from William Blatty’s The Exorcist .

Regan’s eyes gleamed fiercely, unblinking, as a yellowish saliva dribbled down from a corner of her mouth to her chin, to her lips stretch taut into a feral grin of bow-mouthed mockery.

“Well, well, well,” she gloated sardonically and hairs prickled up on the back of Karras’s neck at a voice that was deep and thick with menace and power. “So, it’s you … they sent  you !” she continued as if pleased. “Well, we’ve nothing to fear from you at all.”

“Yes, that’s right,” Karras answered; “I’m your friend and I’d like to help you.”

“You might loosen these straps, then,” Regan croaked. She had tugged up her wrists so that now Karras noticed they were bound with a double set of leather restraining straps.

“Are the straps uncomfortable for you?”

“Extremely. They’re a nuisance. An  infernal  nuisance.”

The eyes glinted slyly with secret amusement.

Karras saw the scratch marks on Regan’s face; the cuts on her lips where apparently she’d bitten them. “I’m afraid you might hurt yourself, Regan,” he told her.

“I’m not Regan,” she rumbled, still with that taut and hideous grin that Karras now guessed was her permanent expression. How incongruous the braces on her teeth looked, he thought. “Oh, I see,” he said, nodding. “Well, then, maybe we should introduce ourselves. I’m Damien Karras. Who are you?”

“I’m the devil!”

Notice the verbs that Blatty uses with Reagan — gleamed, dribbled, gloated, croaked, rumbled. In contrast, the more calm individual in the scene, Karras, responds with simple verbs like “answered” and “saw”. The contrast allows the reader to see Reagan as disturbing.

If you want to make your readers squirm, reading only in daylight hours, shy away from the obvious gore and claptrap. Rather, take the quieter road of tiny disturbing details built up over pages and chapters. Show how your character reacts to what’s happening, and the reader will feel it too.

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How do you describe a scary forest?

Exploring the Enigma of a Scary Forest

As a Travel Photographer, it is my duty and passion to traverse the world and capture its most breathtaking sights. From majestic mountains to serene beaches, I have witnessed the beauty of nature in its many forms. However, there is one type of landscape that has always intrigued me – the scary forest.

When you step into a scary forest, you can feel a shiver run down your spine. The atmosphere is heavy with an eerie stillness, broken only by the creaking of branches and the rustling of leaves. The air is damp and decaying, carrying a pungent scent that adds to the foreboding ambiance.

The canopy of trees towers above, casting long shadows that seem to dance in the dim light. Darkness lurks amidst the thick trunks, making it difficult to discern what lies beyond. Overhanging limbs stretch out like gnarled fingers, reaching across the path, as if urging you to turn back.

The forest floor is covered in a carpet of leaves, their autumn hues transformed into an eerie palette. Cobwebs cling to branches, resembling delicate lace in the muted light. Poisonous plants line the path, their grains gleaming like witch dust, a warning to those who dare venture further.

Now you may wonder, how do you capture the essence of such a haunting place in a photograph? It is not just about capturing the image, but also about capturing the emotions that emanate from the forest. To do this, I employ various techniques to convey the atmosphere of the scene.

Using different layers in my composition, I create a sense of depth that draws the viewer into the mysterious forest. I focus on the dark tree trunks, emphasizing their twisted shapes and textures. Shadows play a vital role in conveying the sense of foreboding, casting intriguing patterns on the forest floor.

I also pay attention to the sounds that fill the forest. The creaking of branches, the rustling of leaves, and the chirping of nocturnal creatures all add to the haunting symphony. By capturing these details, I transport the viewer into the heart of the forest, allowing them to experience its eerie ambiance.

Now let’s unravel some frequently asked questions about scary forests:

1. What makes a forest scary? A scary forest is characterized by its dark and mysterious atmosphere, with overhanging limbs, shadows, and an abundance of decaying vegetation. It instills a sense of foreboding and entices the imagination with its unknown depths.

2. How can I describe a scary forest in creative writing? In creative writing, you can describe a scary forest by focusing on the creepy elements such as dark tree trunks, overhanging limbs, and a decaying atmosphere. Highlight the sounds of branches creaking and leaves rustling, immersing the reader in the unsettling ambiance.

3. What emotions can a scary forest evoke? A scary forest can evoke a range of emotions, from fear and unease to curiosity and fascination. It taps into our primal instincts and awakens our imagination, allowing us to explore the depths of our psyche.

4. Are scary forests dangerous to explore? While scary forests may seem dangerous due to their eerie atmosphere, it is important to approach them with caution. Always be aware of your surroundings, follow established trails, and seek guidance from experienced guides if needed.

5. Can scary forests be found in different parts of the world? Yes, scary forests can be found in various parts of the world, each with its unique characteristics. From the dense, mist-filled forests of Transylvania to the ancient, moss-covered woods of Japan, these haunting landscapes exist in different forms across the globe.

6. Are scary forests home to supernatural creatures? Legends and folklore often associate scary forests with supernatural creatures such as ghosts, witches, and mythical beings. While these stories add to the mystery and allure of these forests, it is important to approach such tales with an open mind and respect for local culture.

7. Can photography capture the true essence of a scary forest? Photography has the power to capture the essence of a scary forest by conveying its atmosphere, textures, and details. Through composition, lighting, and careful observation, a photographer can transport the viewer into the heart of the forest and evoke its mysterious allure.

8. Are scary forests always dangerous? While scary forests may appear dangerous due to their haunting ambiance, they are not inherently hostile. It is crucial to approach any natural environment with respect, follow safety guidelines, and seek local advice when venturing into unfamiliar territory.

Through my lens, I strive to capture not just the visual beauty of a scary forest, but also the emotions and stories that lie within. As a Travel Photographer, I embrace the enigma of these haunting landscapes, always eager to unveil their secrets and share their captivating allure with the world.

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Write that Scene

May your writing spirit live on forever

How to Write a Forest Scene

A. write more about the trees and greenery. give the reader insight to the location and the weather..

B. Write about the animals and the life that exist in this Forest. You can even make up your own and/ or it could be humans that live in the forest.

•  Orangutans spend most of their time in the forest canopy where they feed on leaves, figs and other fruit, bark, nuts, and insects. Large trees of the old-growth forests support woody vines that serve as aerial ladders, enabling the animals to move about, build their nests, and forage for food.
• The largest of all primates, the gorilla. Too large and clumsy to move about in the forest canopy, the gorilla lives on the forest floor where it forages for a variety of plant materials.
• The jaguar. Its endangered status is the result of hunting and habitat loss.
• The Puerto Rican parrot (Amazona vittata), a medium-sized, green bird with blue wing feathers
• Below the canopy the waters are filled with fish life. Kelp bass find the middle of the kelp forest to be a good hunting area, while Sheephead, a boldly colored fish, like to feed on the larger invertebrates that live among the kelp stipes and tend to hang out towards the bottom of the forest.
• Insects (morpho butterfly, Julia butterfly, Monarch butterfly, and millions of other insects) mammals (jaguar, ocelot, didelphid opossums, sloth, howler monkey, spider monkey, capybara, many bats, marmosets, procyonids, peccaries)
• Birds (quetzal, macaw, tinamous, curassows, hoatzins, hummingbirds, eagles, ovenbirds, antbirds, flycatchers, puffbirds, toucans, jacamars, tanagers, tapirs, troupials, honeycreepers, cardinal grosbeaks, xenops) reptiles (anaconda, caiman, iguanas, lizards, microteiid lizards, boas, and coral snakes), amphibians (poison arrow frog, etc.)
• Fish (electric eel, piranha), and millions of other animals.Australia – mammals (tree kangaroo, rat kangaroo, yellow-footed Antechinus, Giant White-tailed Uromys, opossums, bandicoot, echidna, duck-billed platypus, sugar glider, red legged pademelon)
• Reptiles (frilled lizard, carpet python, Green Tree Snake, Spotted Tree Monitor, Eastern Water Dragon, Boyd’s Forest Dragon, Northern Leaf Tailed Gecko)
• Amphibians (Giant Tree frog, Striped marsh frog, Northern Barred frog, Dainty Green Tree frog), and millions of other animals.Southeast Asia –
• mammals (tarsiers, orangutans, Siamangs, gibbons, colobine monkeys, tigers, tree shrews, binturong, moonrats, most flying foxes, colugos, bamboo rats, Oriental dormice)
• birds (tree swifts, leafbirds, fairy bluebirds, fantails, whistlers, flowerpeckers, wood swallows)
• insects (Queen Alexandra’s Birdwing butterfly, Goliath Birdwing butterfly, Saturn Butterfly) to name a few.West Africa –
• mammals (antelopes, bonobo, chimpanzee, gorilla, Mandrill, scaly-tailed squirrels, otter shrews, duikers, okapi, hippopotamus, Cercopithecus monkeys, bushbabies, pygmy hippo, duiker)
• birds (Congo peafowl, African Gray Parrot) to name a few.

C. Describe how these things have a connection to the story and to the overall plot. Give hint to how they will be a part of the journey.

I. What about the animals and the forest is important to the story and to the character? How are they a vital allie to the trail and the path of the rain forest?

I I. Ultimately how are these things good? Give signs and behavior patterns that will differentiate them from good and evil. Or keep it a mystery to enhance the dynamics of your story.

I I I. Use ideologies, metaphors, and similes to create an experience your character is having. How they connect with the forest atmosphere and the creatures who dwell inside this area.

 A. Why is your character there in the first place and how long do they plan on staying? Their journey can all the sudden become extended or shortened by anything.

I.  Think of all the things you might find in a dark forest and make them experience it.

• Insects in the mouth and eyes
• Branches in the face and tearing at clothes
• Tripping over roots and rocks
• Feet crunching on dirt, snapping twigs
• His/her own gasping breath in the silence
• Sounds of creatures pursuing him
• Howling of wolves in the distance
• Owls hooting in the night

I I. Explain their thoughts, the worries, even ultimately telling the reader what’s at stake for the character.

I I I. Do they meet someone along the way? Is there a barrier or path they cannot take or overcome? Or do they find a great shortcut? Is a shortcut even safe?

B. Is there anything out of the usual? Does it become too much for the character to handle to where they will need someone or something to help them? Maybe it’s the animals and life that live in the forest or the forest itself.

I. Is there magic involved? Are there a new philosophies or new rules that doesn’t pertain to our own world, involved? If so, who is controlling this? Does the character have an idea who might be behind these doing?

I I. Does the character actively call out loud for someone or something to help them? Does anyone come to their aid? Is it magical or ordinary? Where has this person or being been all that time? Was this all a test to begin with?

I I I. Must the character return the favor somehow or is it given for free? Does the character somehow speak to this thing or person or are they dumbfounded? Do they just accept what happened or begin to question the place they’re in? Does this mean they’re about to escape or try to at least?

C. Show some relief of the problem or a solution that is at a near distance. Give the reader hope for the character.

I. How are they coping with these sudden changes and surprises? Are they able to take a break at all and stop to get some air from what is going on?

I I.  If s/he’s running to vent because she heard something emotionally traumatizing and they’re running away from the impact it has on them, then s/he would be tripping and stumbling not out of fear but out of anxiety to get away.

If s/he’s running through the woods because it’s a pass time and they enjoy it, then you select words and thoughts and structure your sentences to give a peaceful tone (or whatever emotion you’re aiming for).

I I I. What talents skills or abilities does the character have the makes them seem not so hopeless?      

 A. Show how the forest becomes an aide to the character and/or the character becomes an aide/savior to the forest.

I. Can the animals speak English, can the character all the sudden communicate with the animals, or do they have to find a creative way to speak with each other?

I I. Maybe the trees sway in the wind and gives direction to the character on where to go, what if something randomly falls down as a way to direct the character to a specific path? You can use sound, you can use smell, you can use all the human senses. Be creative.

B. Is there any magic that is in the place? How about the connection between the scenery and the character? How does it strengthen them or how does it weaken them?

I. What type of Magic? Is it something that can be learned? Is it something that can be avoided or counteracted? Does the magic bring anything alive or keeps things dead? Does the magic prevent the forest from doing anything or allows it to do more than what it once could?

I I. Does the character softly walk through the forest to avoid from causing any harm? Does the character do anything weird to the forest such as pray to it or use the trees leaves as clothing? Why are they acting this way?

I I I. How about the forest? Does the forest do anything out of character to gain the character’s interest? Does it offer the character anything?

C. Are there hints in the forest that the character can only see and their enemy cannot? How does the forest communicate with the character? How does the character communicate with the forest?

I. Why can the character see these hints and the enemy cannot? How do they know that these are going to protect them? What has the forest done that makes the character believe it’s okay to to follow unknowingly or even listen to?

I I. How desperate does they forest become? Will they go to great lengths to protect the character? Or will the character go through great lengths to protect the forest? Where does this bond come from and how does it help the character easily flow through the forest?

I I I. Or maybe the forest is silent. Maybe the forest has no magic or is on no one side. If so, how does the character use the forest as they please?

A. Add some drama, some danger, what is breaking… what is causing Mayhem? How is the character mentally handling it and what might be their demise?

I. Give details about the great enemy. What is the character learning thus far? Who are their allies? At what point in their Journey are they at and how close are they to finishing?

I I. Are there any swamps, quicksand, spiders, snakes, or otherwise that wouldn’t necessarily be in another land? How much harder is it to journey through the forest than it is somewhere else?

I I I. Do they get injured, do they somehow make a mistake that they cannot take back? Has the forest abandoned them? Have the animals abandoned them? Have they abandoned themselves and their will to live?

B. If the enemy is directed towards the forest, then how does the forest cope with it and what is it doing to protect itself? How is the character helping to protect the forest if at all?

I. Why is this evil thing having a war with the forest? Does the character understand why? Is it a being? Is it nature? Is it a Mystic being? Is it the forest itself that’s their own enemy?

I I. Do the branches hit and sway? Do the leaves fall down from the branches to the ground as a way of surrender? Do the animals bite, bark growl? Do trees fall down? Do trees move as if they had feet?

C. Put a bit of focus on the enemy; the danger. How do they look? what are they doing? how does it seem for them to be in this Forest? what threats are they saying? what weapons do they have? how many people are on the enemy army? How much more powerful is this threat?

I. How does the face look? How powerful is this evil? How weak are they; what is their weak link? How long has the war/battle been going on?

I I. Where did this enemy come from? How evil are they or do they have some kindness to them? Is it never ending or does it have a downfall? Is it hurting itself by battling the forest or the character? Or is battling the forest or the character making it stronger?

I I I. If the character or the forest is battling themselves, then describe the pain they are inflicting on itself through the eyes of who is watching. How much longer until the end is near? In other words, is it hopeless to help?

 A. Is everything complete, is everything at peace, how does the character feel?

I. What are the goodbyes like? What actions do they take to make sure they are thanking the forest and that the forest understands what they’re saying?

I I. How much has the character contributed? Where does the health of the character and the forest lie? Are they both to thank for a good ending? Who’s to blame for a bad ending? Is there any animosity between the character and the forest? Remember, the animals are considered to be part of the forest.

I I I. Is there any gifts exchanged? Are there any songs sang? Is there a promise of return?

B. How about if the threat is still alive? how has the character left the threat or if they decide to stay how are they keeping the threat at bay?

I. Is threat gone away for a while? Is it sure to return? Will the character return before the threat returns but with more weapons or people to battle?

I I. If the character stayed, what are they doing in order to protect the forest? How much do they have to sacrifice to keep the forest in good shape? Is the forest doing anything to thank them or to protect the character in return? Is this a completely selfless act?

I I I. Vice versa. What must the forest do in order to continue to protect the character? How’s the character thanking the forest?

C. Let the reader know who’s in charge, whether it’s the character the forest or the enemy at the end of the scene. Let them know where it should start the next time you begin this scene. If it is finished then make sure you bring out the person you want to bring out on top. But not without consequence; there must be signs of a battle.

I. Who left the battle? Who had the most battle scars? Who showed signs of fear? And how did they show these signs if they weren’t human?

I I. Is there a prophecy? Were there hostile words exchanged? Was there a time when the character or the forest felt like they failed or were about to lose? Is this a false win?

I I I. Is there peace at the end of the scene? Or is there a lot to be desired? What is the last thing that the character remembers about the forest or sees?

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