Aspiring sound designers often ask how important it is to get an academic degree of some kind before pursuing a career in media sound. A degree itself isn’t important at all in my opinion. No potential employer has ever cared whether I had a degree. On the other hand, the more we know about human culture and the physical world around us, the better equipped we are to handle challenges in sound design, both the creative kind and the interpersonal, political, diplomatic kind.
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On the practical, creative side, the better we are at language, the easier time we’ll have searching sound effects libraries. That’s partly because when we search for possible sounds for a given moment, action, event, or environment, it’s almost always a good idea to include in our search-terms some words that are not necessarily connected in an obvious way to the thing we are being asked to address. Having an imagination and a vocabulary for the non-obvious can help a lot.

The most literal search may be with words like “aground” or “grounded.” A less literal one will include the words “boat,” “wood,” and “rock.” Notice that I used “rock” instead of “rocks.” A search for the singular will automatically give me results for the plural too, but a search for the plural will not always give me results for the singular. So, it’s usually a good idea to use the simplest version of a word, which may sometimes be a partial word. If you are looking for “rake,” it might be good to try “rak,” because that is more likely to give you search results that include “raking” in addition to “rake.”

For our boat shot, a search using any of those fairly obvious keywords will probably bring up some useful sounds in a big, diverse library. But how about the non-obvious?
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My process is often to try to reduce what is going on sonically in a shot to the most fundamental level. In this case, a more-or-less hollow wooden object is impacting and/or scraping against something hard that’s under water. Does a potentially useful sound HAVE to be made by a boat? Nope. Does a potentially useful sound HAVE to be made by a rock or rocks? Nope. Does it need to have anything to do with water? Nope. So now I’m free to search a much wider variety of sounds than my literal “boat, wood, rock” searches would have yielded.
 
In fact, the term “wood” may limit the search unnecessarily. We like to think we know what wood sounds like, and sometimes we do, but sound is powerful at fooling us. A hollow, plastic object can make sounds very similar to wood. So, you may not want to limit your search to wood objects. Same with the word “hollow.” Something flat, not hollow, can make sounds similar those made by hollow objects if it resonates in certain ways.

It occurs to me to look for “scrape” (or maybe “scrap” because that will give me results that include “scraping”). Just the term “impact” could give me some appropriate sounds, or just “hollow” or “rub.” “Shudder” by itself might help, because it’s possible that I’ll find something shuddering that isn’t wood, but sounds like it could be wood. “Resonate” or “resonat” could lead to something nice.

Some of the results, almost certainly most of the results from a search this oblique, won’t be useful. But some will be amazingly, wildly useful elements to supplement or even replace the more on-the-nose sounds you’ll find with your “boat,” “wood,” rock” search. Sounds that have nearly nothing to do with a boat impacting rocks can add interest and character to your sound design for that moment, making it feel believable but unique.

An old, unrepairable acoustic guitar (hollow wooden object), banged into a door or scraped against rough concrete, then the recording pitched down an octave or two or three to make it feel bigger, could be just the thing for our boat scene. Good luck with THAT search!