It took me a while before I realized that in my writing I was largely ignoring four of them. All the details were visual, visual, visual--and therefore tiresome, tiresome, tiresome. So I started making myself fill out a little post-it note checklist before writing a sensory-loaded scene:
What is my protagonist:
I mean, duh, right? Yet it's amazing how priming yourself changes the way you write description though. A visuals-only passage like this: Collette saw the hazy outline of a ghost tease her from the corner of the dim hallway. She slammed her door shut and locked it, then planted herself in a chair to watch and make sure the handle didn't jiggle.
Can become a sensory bonanza like this: From inside her doorway, Collette caught a whiff of lavender and patchouli. She gripped the worn edges of the doorway as she leaned her head out to check the hall. She heard only the clock ticking to her left (and the thrum of her heartbeat in her ears). Then she saw the hazy outline of a ghost tease her from the corner of the dim hallway. Collette slammed her door shut and frantically locked it, slicing her fingertip on the sharp edge of the lock. She planted herself in a chair to watch the handle, to make sure it didn't jiggle. Sticking her bleeding finger in her mouth as she waited, the taste of her own blood creeped Collette out even more.
(Disclaimer: Not from a WIP. I wrote that after midnight and a glass of wine last night. It shows.)
Not to say the second example is better--it may just be longer. As a Hemingway fan, I am well aware that sometimes less description is better. However, describing all five senses to start has gotten me thinking about everything the character is experiencing in the scene, and perhaps one of those senses will come to dominate the visual as I revise.
How do you incorporate all the senses into your writing?