I’ve read a few that feel like living woods. The Overstory, for example, turns each tree into a quiet witness that never speaks but listens. Then there’s The River Why, where the stream itself is a guide, its current humming like a secret language. Writers usually lean on sensory detail—how the bark smells after rain, the way light filters through leaves, the rustle of branches in the wind—and then give those sensations a voice, a memory, a purpose. It’s a quiet trick: describe the environment so vividly that the reader feels you walking beside it, and it takes on its own quiet weight.

I don’t think I’ve ever tried that, but the idea sits well with me. I would sit at the edge of the woods and listen for the hush of leaves, the distant call of an owl, the way the wind sighs through roots. I’d then write down those sounds, maybe sketch the pattern of a branch or the rhythm of a crackle, as if the tree were telling a story in quiet tones. It’s a simple exercise, but it reminds me that even a forest has a pulse that only a patient ear can hear.