How to Write Character Descriptions Without Falling into a Cliché by Loretta Bushell

Today we welcome a new guest writer to Writer’s Fun Zone, Loretta Bushell who is stopping by to chat with us about “How to Write Character Descriptions Without Falling into a Cliché.” Enjoy!

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How tall is Miss Marple? What color is Dr. Watson’s hair? What do Harry Potter’s shoes look like?

These are all questions we’ll never know the answers to. But that’s okay.

Readers don’t need to know exactly what a character looks like in order to engage with the story.

In fact, a long paragraph listing all their features is more likely to bore the reader than draw them in — and most of it will be forgotten almost immediately.

The key to writing great character descriptions is to focus only on select traits.

But, beware!

The wrong combination of attributes can turn your character into a walking cliché.

These four tips will help you find the right balance and craft effective and original character descriptions.

Zero in on 2-3 Distinctive Traits

The best way to build a lasting image of a character in a reader’s mind is to forget their mundane features and concentrate on two or three distinctive characteristics.

Each quirk could be an unusual part of their appearance, a strange habit or interest, or a peculiar way of speaking.

The more unique your chosen traits, the more memorable your character will be.

That said, it does help if you reiterate the attributes throughout your story — when it’s natural to do so.

When bringing up a character’s appearance for a second or third time, you might explore their own attitude toward their body, show other characters observing them, or even connect their appearance to a key plot point (like Harry Potter’s scar).

It’s been at least ten years since I read Lemony Snicket’s A Series of Unfortunate Events, but I still remember Count Olaf’s unibrow, eye-shaped ankle tattoo, and love of theater.

Not only are these traits unusual (the latter more so because of Olaf’s villainy), but they come up again and again as the Baudelaire orphans continuously expose his elaborate disguises.

Combine Opposing Characteristics

To avoid falling into a cliché, try combining characteristics that do not stereotypically belong together.

A nerd who wears glasses is a complete cliché, but if they also wear cool earrings or have huge biceps, they will be sufficiently multidimensional to break free of the archetype.

It’s not practical to give every character two or three well-explored quirks — just the main characters require this.

However, the next piece of advice applies to every direct description, no matter how unimportant the character, be as specific as you can.

Choose the Most Specific Expression

Generic descriptions are not only an indicator of a one-dimensional, superficial cliché; they’re also just plain boring.

Always choose the most specific expression.

For example, “mahogany” rather than “brown,” or “an accomplished flutist, decent pianist, and hardcore Beethoven fan” rather than “musical.”

Figurative language can help you be even more specific.

In This Census-Taker, China Miéville doesn’t just tell us that a minor character has a dirty face; instead he says, “Dirt seemed so worked into him that the lines of his face were like writing.” The simile conjures a precise image and engages the reader’s imagination much more effectively than writing “his face was dirty.”

Use Sensory Language for More Detail

Another way to add interesting detail is through sensory language.

In The Neon Rain, James Lee Burke describes a prison guard as smelling “faintly of dried sweat, Red Man, and talcum powder.”

Meanwhile, Dennis Lehane introduces a senator with “a handshake that stopped just short of inducing paralysis” in A Drink Before the War.

The sensory language immerses the reader in the story, inviting them to imagine actually being there with the characters rather than just watching from afar.

Reveal Character Description Through Action

Not all character traits should be spelled out.

When readers are told everything outright by an omniscient narrator, it not only slows down the action, but also robs readers of the opportunity to engage actively with the story by making inferences.

You can let the reader infer both physical and personality traits from a character’s actions.

Richard Osman doesn’t explicitly say that DCI Chris Hudson from The Thursday Murder Club is overweight and has poor self-esteem, but we can deduce both because Chris is constantly eating unhealthy snacks, failing to stick to a health plan, and telling himself that nobody would want to date him.

Or Through Other Characters’ Observations

Another interesting way to convey a character’s appearance or personality is through someone else’s words or thoughts. This delivers a double whammy, as it says just as much (or more) about the observer as the observed.

In Agatha Raisin and the Case of the Curious Curate, M.C. Beaton describes crime writer John Armitage from Agatha’s perspective:

“Although he was about the same age as she was herself, his face was smooth and he looked younger, a fact that annoyed her […]”

Not only do we learn of John’s youthful looks, but we also discover that Agatha is insecure about her own age and appearance and is prone to jealousy.

Beaton is certainly creative in her characterization.

Indeed, as is always the case in writing, variety is key here.

Use plain, figurative, and sensory language.

Swap between telling, showing, and letting another character tell.

To avoid falling into a cliché, be specific and combine multiple unique characteristics, and never just list attributes!

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About The Author

Loretta Bushell writes for Reedsy, a marketplace that connects authors with resources and professionals to help them publish their dream book. Loretta is also a part-time translator and spends their spare time reading, playing board games, and training for their next triathlon.