Sight - that's pretty much a given - if you're describing it then you are seeing it. Hopefully your reader is too.
Hearing - mostly obvious, but maybe slightly more testing? If your book has conversation, then that sense is covered, but what about other noises? Everything from music to the roar of a motorcycle? I think this one might be especially useful to those who write horror and generally creepy stuff. Hearing something without being able to see it is pretty creepy. Where would that haunted house be without the clanks, creaks and the odd mournful wail? Footsteps in the dark, rustling in the bushes - the imagination works overtime - which is what it is all about, after all.
Touch - the favourite one for er ... intimate moments. But it's got it's place in description too, the feel of the pile of a velvet dress, the softness of cashmere, the roughness of a brick wall. I'm wondering about that awful squelch when you step in something and you don't know what it is. If it's on the other side of your shoe, does that count?
|Jasmine. My garden smells heavenly at the moment.|
And the last one - Taste. Is this the trickiest one? Food is the obvious source and of course that intimate stuff again. In fact. S.E.X. seems to a be a good work out all round for the senses. There is occasionally the chance to use this sense in a more unusual setting - the taste of the salt in the wind and such, but it needs a bit of care if it isn't going to sound daft. Babies are experts in putting stuff into their mouths to find out what it might be, but once you've reached the age of discretion, not so much.
What got me going on all this? Well, I've been doing quite a bit of early morning walking lately and been thinking about the things going on around me - an experiment in creating a town scape. I'll tell you about that next week.