Craft Chat Character Descriptions-who else needs practice?

[Pamela Jo]

I am in awe of writers who casually pause and paint in a new character, detailed and without breaking the 3rd wall in the story. This is maybe slightly easier in first person, but 3rd person!
It feels like I'm turning to the camera and addressing the audience. But I need to learn this skill. I'm thinking we could start a practice thread-not a contest- where we could post our attempts and hopefully come to be one of those skilled character portraitists.

If interested put your name below and we could approach the great Vetinari of Litopia.

 

[Hannah Faoileán]

Yep, good idea

 

[Aethalope]

I'm up for it!

 

[Sarit]

OK why not! TBH I don't describe my characters much, preferring the character to come out organically through actions.

 

[Sedayne]

I struggle with visuals, both as a writer and a reader. (If there's too much visual description, it's too much effort for me to see what the writer wants me to see).
So I'm with @Sarit on letting character be conveyed through action and dialogue.
But this is an interesting topic to discuss further and have a go at with examples.

 

[JohnBertel]

I'm in. Thanks!

 

[Pamela Jo]

Here are some examples. I think there are enough to talk to pete about giving is a thread.

Physical Descriptions: Beyond the Basics​

It’s tempting to default to the basics when describing a character—height, hair color, eye color. While these details are essential, they don’t tell the whole story. To create a more vivid image, focus on unique physical traits or quirky detailsthat make your character stand out.

1.​

Instead of simply stating “brown hair and blue eyes,” add depth and personality. Consider using similes or metaphors to evoke emotion.

• Her hair fell in tight, rebellious curls, as wild and unpredictable as she was.
• His eyes were the color of a stormy sea, constantly shifting between gray and blue.

2.​

Unique or exaggerated facial features can be memorable, especially if they hint at a character’s backstory or personality.

• His nose had been broken more times than he cared to remember, giving him the permanent air of a man who never learned his lesson.
• Her lips always seemed to tug upward, as if she were perpetually on the verge of a joke only she found funny.

3.​

How a character holds themselves can reveal a lot about their emotional state or personality. Are they confident, shy, or perpetually on edge?

• She walked with the grace of someone who had spent years balancing books on her head, her chin always held high, her stride measured and precise.
• He slouched into the room, hands buried deep in his pockets, his shoulders hunched as if he were trying to make himself smaller than he already was.

4.​

A character’s choice of clothing can hint at their personality, profession, or mood. Focus on small details that show something more about them.

• Her dress was frayed at the edges, the vibrant red long faded to a dull pink, but she wore it with the pride of someone who had no other option.
• The battered leather jacket he wore had seen better days, much like its owner, but he wouldn’t be caught dead without it.

---

Emotional Descriptions: Showing, Not Telling​

It’s easy to tell your readers what a character is feeling—happy, sad, angry. But great writers show these emotions through actions, body language, and dialogue.

5.​

Expressions are the windows into a character’s soul, revealing their true emotions without needing to state them explicitly.

• Her smile was bright, but it didn’t reach her eyes.
• He blinked rapidly, his lips twitching in a tight, forced smile that betrayed his unease.

6.​

Hands can be just as expressive as faces. Nervous ticks, fidgeting, or purposeful movements can all hint at a character’s emotional state.

• She twisted the ring on her finger, the motion growing more frantic as the conversation progressed.
• His hands were clenched into fists, knuckles white, though his voice remained calm.

7.​

Tiny, seemingly insignificant actions can reveal much about a character’s inner world. Use small gestures to add layers to your descriptions.

• She tucked a strand of hair behind her ear, a nervous habit that betrayed her otherwise cool demeanor.
• He glanced over his shoulder, the brief flicker of movement betraying his fear, though his words were brave.

---

Describing Personality Through Actions​

While physical and emotional descriptions are vital, character actions often speak louder than words. A character’s behavior can reveal their values, beliefs, and quirks.

8.​

Small habits can make a character feel real and relatable, while also giving insight into their personality.

• She never entered a room without checking the corners first—a habit from years spent as a private detective.
• He always carried a book with him, even to parties, claiming he never knew when he’d have a moment to read.

9.​

The way a character speaks can tell a lot about their background, education, or emotional state.

• Her voice was soft, lilting, as if she were used to coaxing secrets from unwilling lips.
• He spoke in clipped, measured tones, never wasting a word, as if conversation were a chore he had no patience for.

10.​

How a character reacts under pressure can define them. Do they freeze, fight, or flee? These moments are key for revealing their deeper motivations.

• She faced the mob with a calm smile, even as her hands trembled behind her back.
• He bolted at the first sign of danger, not stopping to check if anyone was following him.

---

Creating Contrast in Descriptions​

One powerful technique for describing characters is to use contrast. Juxtaposing physical traits with unexpected personality traits can create complexity and intrigue.

11.​

Large, imposing characters can often be softened with gentle or tender behavior, creating a memorable contrast.

• Despite his towering height and broad shoulders, his touch was as delicate as a feather, as if he were afraid to break anything in his path.

12.​

A character with a stunning physical appearance who acts in cruel or evil ways can surprise readers and add depth.

• Her face was angelic, with high cheekbones and soft, doe-like eyes, but her smile was sharp enough to cut glass.

13.​

A traditionally “good” character with an unexpected flaw can humanize them and make them more relatable.

• He was known as the town’s most righteous man, but his hands still shook every time he held a glass of whiskey, unable to forget the war.

---

50+ Examples of Character Descriptions​

Now that we’ve explored some techniques, let’s get into the examples. These descriptions are broken down into categories to help you apply them to your characters.

Physical Descriptions​

1. Her hair was a tangled mess of copper curls, wild and untamable, like her spirit.
2. He had a scar running from his temple to his chin, a jagged reminder of a fight he didn’t remember winning.
3. Her eyes were pale green, like new leaves in spring, always watching, always calculating.
4. His broad shoulders filled the doorway, casting a long shadow into the room.
5. Her skin was weathered and worn, like leather left in the sun too long, each wrinkle a testament to the years of hard labor.
6. He stood a full head taller than anyone in the room, yet somehow managed to fade into the background, as if he were trying to disappear.
7. Her lips were perpetually chapped, a fact she tried to hide by constantly applying balm.
8. His hands were calloused, the skin cracked and rough from years of working with machinery.
9. Her face was porcelain-perfect, but her eyes told a different story—one of sleepless nights and quiet suffering.
10. The tattoo on his neck peeked out from under his collar, a flash of inked rebellion against the otherwise pristine uniform.

Emotional Expressions​

1. His laugh was hollow, more of a bark than an expression of joy.
2. Tears welled in her eyes, but she blinked them away, refusing to cry in front of him.
3. He smiled, but the corners of his mouth twitched as if it were an effort to maintain the facade.
4. Her eyebrows knitted together in confusion, a small wrinkle forming between them as she tried to understand.
5. His lips pressed into a thin line, the only sign that her words had cut deeper than she’d intended.
6. She rolled her eyes, but there was a glimmer of amusement there, barely concealed behind her exasperation.
7. He clenched his jaw, his teeth grinding audibly as he fought to hold back his anger.
8. Her hands trembled ever so slightly, betraying the calm mask she wore.
9. He grinned broadly, but the smile didn’t quite reach his eyes, as if the joy were just an act.
10. She pursed her lips, a small, silent act of disapproval that said more than words ever could.

Personality Descriptions​

1. She never said a word unless she was sure of it, each sentence measured and precise, like the ticking of a clock.
2. He was reckless, charging into situations without thinking, always trusting that his luck would see him through.
3. Her kindness was boundless, but it often left her vulnerable to those who sought to take advantage of her generosity.
4. He was a man of few words, but each one carried the weight of a thousand conversations.
5. Her optimism was infectious, like sunlight breaking through the clouds on a rainy day.
6. He had a habit of interrupting others, as if his thoughts couldn’t wait their turn.
7. She was meticulous, every detail of her life planned down to the second, leaving little room for spontaneity.
8. He wore his cynicism like armor, protecting himself from the disappointment he believed was inevitable.
9. Her laugh was loud and boisterous, the kind that turned heads in a crowded room.
10. He was always late, as if time bent to his will and not the other way around.

Body Language​

1. He crossed his arms over his chest, a clear sign he wasn’t interested in hearing anything more.
2. She tapped her foot impatiently, her eyes darting to the door every few seconds.
3. His shoulders slumped, as if the weight of the world were too heavy to bear any longer.
4. She twirled a lock of hair around her finger absentmindedly, her mind clearly elsewhere.
5. He leaned back in his chair, arms behind his head, radiating a confidence that bordered on arrogance.
6. Her fingers drummed a steady rhythm on the tabletop, betraying her growing impatience.
7. He fidgeted with the cuff of his shirt, a nervous habit he hadn’t been able to shake since childhood.
8. She stood ramrod straight, her posture military-perfect, as if she were always on guard.
9. He cracked his knuckles one by one, a slow, deliberate gesture that made the others in the room uneasy.
10. She clasped her hands in front of her, her knuckles white from the pressure of her grip.

Speech Patterns​

1. He spoke with a heavy accent, his words thick and difficult to decipher, but full of passion.
2. Her voice was soft, but her words were sharp, each syllable cutting through the conversation like a knife.
3. He had a habit of speaking in half-sentences, as if expecting the listener to fill in the blanks.
4. She spoke with a stutter, her sentences punctuated by pauses as she struggled to get the words out.
5. He spoke quickly, his words tumbling over each other in his excitement, barely pausing for breath.
6. Her voice was melodic, rising and falling with a rhythm that drew listeners in like a song.
7. He always paused before answering, as if carefully weighing each word before he spoke.
8. She had a habit of repeating herself, as if she didn’t trust others to listen the first time.
9. His voice was gruff, as though years of smoking had left it permanently rough around the edges.
10. Her words were clipped and curt, like someone who didn’t have time for small talk.

---

Conclusion: Crafting Memorable Characters​

Great character descriptions don’t just focus on the surface. They delve into the emotional, psychological, and behavioral traits that make each character unique. By combining physical traits, emotional expressions, and actions, you can create characters that feel real, layered, and unforgettable.

Whether you’re working on a novel, a short story, or even a screenplay, these techniques and examples will help you breathe life into your characters, ensuring they leave a lasting impact on your readers.

 

[Sedayne]

Interesting. Where is this from?

'...height, hair color, eye color. While these details are essential...'
I don't think I've been aware of any of these details in the novels I've read recently, so I wouldn't call them essential.

The other stuff though - habits, speech patterns and so forth - more illuminating. Maybe that's the point.

 

[JohnBertel]

It's hard to judge these examples, I believe they are from the StoryGrid website, without knowing the surrounding POV.

1. Her hair was a tangled mess of copper curls, wild and untamable

That is something a POV character can see, and wild and untamable hints at the POV's perception of the character, but adding 'like her spirit' seems to go into omniscient narrator territory and tell the reader that is, in fact, her character.

I get that these are ways to characterise a character, but should they go into the description? For instance, I get that a speech pattern gives a character life, but wouldn't that be better shown in dialogue rather than spelled out in a character description?

Some of the examples I would expect to be marked in red by an editor: She twirled a lock of hair around her finger absentmindedly, her mind clearly elsewhere. When one is absentminded, the mind is pr definition elsewhere

 

[Sedayne]

I get that these are ways to characterise a character, but should they go into the description? For instance, I get that a speech pattern gives a character life, but wouldn't that be better shown in dialogue rather than spelled out in a character description?

I agree. And I think that's the point, for me at least. I want to be able to show characterisation in how the person behaves or what they say rather than describing them outright and risk breaking that 4th wall.

 

[Hannah Faoileán]

It's hard to judge these examples, I believe they are from the StoryGrid website, without knowing the surrounding POV.

1. Her hair was a tangled mess of copper curls, wild and untamable

That is something a POV character can see, and wild and untamable hints at the POV's perception of the character, but adding 'like her spirit' seems to go into omniscient narrator territory and tell the reader that is, in fact, her character.

I get that these are ways to characterise a character, but should they go into the description? For instance, I get that a speech pattern gives a character life, but wouldn't that be better shown in dialogue rather than spelled out in a character description?

Some of the examples I would expect to be marked in red by an editor: She twirled a lock of hair around her finger absentmindedly, her mind clearly elsewhere. When one is absentminded, the mind is pr definition elsewhere

I feel the same as you. Quite a few of them have a 'Tell' clause, as if the reader can't work out the meaning of the action for themselves.
e..g. Her fingers drummed a steady rhythm on the tabletop, betraying her growing impatience.
There are plenty ways to show her growing impatience e.g. Her fingers drummed the table top, the pauses when she checked her watch becoming more frequent.

 

[Hannah Faoileán]

It's hard to judge these examples, I believe they are from the StoryGrid website, without knowing the surrounding POV.

1. Her hair was a tangled mess of copper curls, wild and untamable

That is something a POV character can see, and wild and untamable hints at the POV's perception of the character, but adding 'like her spirit' seems to go into omniscient narrator territory and tell the reader that is, in fact, her character.

I get that these are ways to characterise a character, but should they go into the description? For instance, I get that a speech pattern gives a character life, but wouldn't that be better shown in dialogue rather than spelled out in a character description?

Some of the examples I would expect to be marked in red by an editor: She twirled a lock of hair around her finger absentmindedly, her mind clearly elsewhere. When one is absentminded, the mind is pr definition elsewhere

I feel the same as you. Quite a few of them have a 'Tell' clause, as if the reader can't work out the meaning of the action for themselves.
e..g. Her fingers drummed a steady rhythm on the tabletop, betraying her growing impatience.
There are plenty ways to show her growing impatience e.g. Her fingers drummed the table top, the pauses when she checked her watch becoming more frequent.

 

[Pamela Jo]

I couldn't find any examples I could cut and paste here that have really given me writer envy. But Rivers of London and other books I just stop and whisper, "Damn that was smooth." Anybody got some better examples to post?

I'm listening to Will Starr , Science of Storytelling. The science of reading, which I saw in action w my dyslexic sons, means the brain has to attach some kind of visual symbol/picture to the word in order to process it. That extends to a series of images and we see in our heads a visual story stream.

Tho I symnpathise with the reluctance to do character description, the fact is if you don't - you've made a wall between yourself andthe reader that they cant see through.
Readers have to have enough word images to make the movie in their head. And reading is a strange thing for the brain to do. It is not that humans were born to do it. We adapt to be able to do it. The bond between reader and writer could be seen as a kind of Spock Mind Meld with us transferring the movie in our heads to the movie in the readers heads using only funny squiggles on the page.

 

[JoanUP]

I couldn't find any examples I could cut and paste here that have really given me writer envy. But Rivers of London and other books I just stop and whisper, "Damn that was smooth." Anybody got some better examples to post?

I'm listening to Will Starr , Science of Storytelling. The science of reading, which I saw in action w my dyslexic sons, means the brain has to attach some kind of visual symbol/picture to the word in order to process it. That extends to a series of images and we see in our heads a visual story stream.

Tho I symnpathise with the reluctance to do character description, the fact is if you don't - you've made a wall between yourself andthe reader that they cant see through.
Readers have to have enough word images to make the movie in their head. And reading is a strange thing for the brain to do. It is not that humans were born to do it. We adapt to be able to do it. The bond between reader and writer could be seen as a kind of Spock Mind Meld with us transferring the movie in our heads to the movie in the readers heads using only funny squiggles on the page.

I loved all the examples ! Thanks for posting!

 

[Sarit]

Thank you for posting this and starting this discussion. I'm not sure where you got these from but to me they sound almost like they were written by AI -- like cheesy stock descriptions with a modifier that is very telly. Why describe only to immediately tell? Either tell or describe.

Now let's examine a bonafide master Frank Herbert and the first two pages of Dune.

In these first two pages Jessica is not described.

The old woman is the most described: "The old woman was a witch shadow—hair like matted spiderwebs, hooded ’round darkness of features, eyes like glittering jewels."
Between the old woman and Jessica the characterisation heavy lifting is done mostly with dialogue.

Then we come to Paul. Not described as he wakes up except for:
"Within the shadows of his bed, Paul held his eyes open to mere slits. Two bird-bright ovals—the eyes of the old woman—seemed to expand and glow as they stared into his."
We get so much from this. He's aware, listening, but pretending to be asleep....
In the first opening sentences he is described as a 'boy'. But the later 'description' tells otherwise, and the witch calls him a rascal.
Then we go into a close third, his thoughts, wonderings, remembering, we get so much from this.

To me this is just so masterful. We understand that he is not a boy.

 

[Hannah Faoileán]

Laini Taylor, Daughter of Smoke and Bone:

P1 "Snow and Stone and Ghostlight, Karou's own footsteps and the steam from her coffee mug, and she was alone and adrift in mundane thoughts: school, errands."
(Now we have a good idea of her age.)

P2 "An artist's portfolio was slung over her shoulder, and her hair - loose, long and peacock blue - was gathering a lace of snowflakes."
(We have description but interlaced with the scene setting so it doesn't come across as infodump.)

 

[anaximander]

I'm partial to describing a character by describing their space and their actions.

Here I'm introducing the Prior from the point of view of the protagonist:

A massive desk of dark, timeworn wood stood at the center, its surface gleaming. Stacks of parchment lay in perfect order. A cup of tea, steamless and still, sat forlorn to the side. Against one wall, a deep-cushioned couch hinted at afternoon naps.
Behind the desk, the Prior sat hunched like a coiled spring. Only the tip of his quill moved, gliding across the parchment in precise, fluid strokes. His lips formed silent words—numbers, perhaps—traced onto the page with the steady rhythm of a man who thought in ink.

Pet peeve: I intensely dislike characters describing themselves, and a line like "He ran his hand through his close-cropped black hair" will make me not just drop the book, but burn it in effigy.

For a better turn of phrase I often turn to Barbara W. Tuchman (who wrote strictly non-fiction pageturners):

"(...) and three kings who were to lose their thrones: Alfonso of Spain, Manuel of Portugal and, wearing a silk turban, King Ferdinand of Bulgaria who annoyed his fellow sovereigns by calling himself Czar and kept in a chest a Byzantine Emperor's full regalia, acquired from a theatrical costumer, against the day when he should reassemble the Byzantine dominions beneath his sceptre."
--Guns of the South, p. 3

 

[Bloo]

You've given us a picture of a man in a paragraph. He's focused, deliberate, and precise. He forgoes the comforts of tea or even a good night's sleep in the execution of his work.

In my mind's eye, I see a tall thin man (tall because he's hunched over a large desk, thin because his intense focus keeps him from food or drink). I imagine salt-and-pepper hair coz he's old enough to have learned such discipline, yet still young enough to endure privations to effectively practice it.

How close am I ???

 

[anaximander]

I think I pictured him bald, but otherwise spot on, Bloo.

 

[Hannah Faoileán]

The great thing about reading is that it inspires our own imagination. It doesn't matter that our image of the person is not exactly the same as the author's image as long as it fits the story, so we never have to describe everything about them, just whatever is required of the scene or plot.

 

[anaximander]

I think the hard part to learn for me was - is - to write less, to leave spaces in which the reader can put their imagination to work. So I wouldn't say what color hair they had, or if they are thin or overweight. Just a few broad strokes.

 

[wrightstuff]

I feel that the need for physical descriptions depends on the tone of the writing. I've done lush, detailed physical character descriptions when that suited the style, but my preference is for action, background, or personality descriptors.

A couple of examples of the latter (context makes it clear they are a Singaporean Chinese couple):

'A large, cheerfully loud woman of Peranakan descent - disturbingly similar to my mother - she had been brought up to take the whole endlessly cooking, organising, over-dressing tradition very seriously.'

'Edward, an elegant gentleman - in every sense of the word - greeted me warmly, shaking my hand as I rose. He was on his way to The Club (in my mind it was always capitalised), and would be glad of my company.'

Neither description dwells on physical attributes, but hopefully both are physically present to the reader.